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He's also credited in a leaked early cut of the film. But as I recall the only Badalamenti in it was taken from Mulholland Dr. and maybe one or two other Lynch collaborations, clearly used as temp tracks. Mansell (who was brought on board only a couple of months before the Cannes premiere) claimed that Badalamenti was never actually going to do the score and his name in the credits was just a placeholder, but as you noted there were some early press materials trumpeting his involvement. I don't know if he got around to composing any new music for the film, but one person who did was Johnny Jewel, who significantly reworked his unused score into an album called Themes from an Imaginary Film.

Johnny Jewel's Tick of the Clock (Chromatics) and Under Your Spell (Desire) are still used in the film and I'd highly recommend Themes from an Imaginary Film, which he recorded under the band name Symmetry. By his own admission he wasn't used working to visual cues but if the album is anything to go by (and Jewel said it's heavily reworked) it would have made a beautiful score.

Some of Jewel’s stuff wound up in Twin Peaks: The Return. And of course Chromatics were the featured band in one episode.

flyonthewall2983 wrote: Wed Oct 26, 2022 1:04 am Some of Jewel’s stuff wound up in Twin Peaks: The Return. And of course Chromatics were the featured band in one episode.

The best stuff was taken from his album Windswept, which features a Chromatics cover of "Blue Moon" and Desire's best song, which was covered by the Chromatics instrumentally in the twelfth episode of The Return

...and there I was thinking I'd be the one to out-nerd everybody on Johnny Jewel.

Saturday definitely also is, to me, the best song on Windswept.

mfunk9786 wrote: Wed Aug 08, 2012 4:35 am Buddy of yours, eh?

Yes, I'm replying to a post from 2012, with this bit of fluff.

As a bit if trivia, in Denmark it is appropriate to refer to people by their first name, even typical "formal" relationships like a student-teacher and patient-doctor.