Glenn Anders wrote: Roger: For your restoration, how extensively do you think, have you drawn on the "complete" Herrmann score we have in the Bremner rendition that Randy mentions?
I estimated that I used approximately 16 minutes more of Herrmann's score than appeared in the released version. Almost every cue that appears on the Bremner CD was represented. In a few cases I faded the cue early; logically, a scene recreated using only dialogue and stills will play a little faster than one that has on-screen action (much like a radio drama would). Whereas Herrmann may have scored a scene to cover the action of someone slowly leaving a room, it made sense to me to conclude some of the recreated scenes after the last line of dialogue so I trimmed the cues accordingly. One cue that covered Isabel's return home was omitted from the CD release, so I repeated the cue used later for that fantastic shot where George learns of his mother's death. In regards to the "Toccata" that Herrmann wrote for the factory scene: I believe Robert Carringer surmised that Welles asked for it to be dropped because the sound effects used made the score redundant (I tried out the cue with the scene and agreed - it didn't work). The most disappointing thing for me was not being able to use more of Herrmann's "First Letter Scene" cue (apart from the short cello intro) because then I would've had to recreate Cotten's great voice-over which would not have been an improvement (so some of Roy Webb's schlockly replacement music stays in there). Fortunately, Herrmann intended the "First Letter" theme to be reprised over the end titles, so I deliberately wrote additional narration to follow the boarding house scene in order to back it with Herrmann's theme!
There's no better example of how Herrmann's music can improve a scene than his "Fantasia" cue (written for the first stairway confrontation between George and Fanny). Inexplicably deleted from the released version, the cue as performed by the Australian Philharmonic fits perfectly as a counterpoint to George's rising agitation. It took my breath away when I first synched it up to the footage.