Here's my view on most album presentations, which is probably just a sidebar to this topic. I admit that, personally, I am not very supportive of the audience that wants (or demands) soundtrack albums be exact replications of the film's audio itself, right down to the sequence and editing. That to me is sometimes just cretinous. To do this means the cues would be dialed in and out, re-arranged in places not originally intended, chopped, diced and otherwise assembled for the changing needs of the film during post-production. Sometimes the composers are not even involved at this point. The music functions, of course, as it should in the film and we can all enjoy hearing it that way on DVDs and Blu-rays and whatnot. BUT on soundtrack albums, I myself want to enjoy the music - no longer in the background but in the foreground - functioning as a musical listening experience the way the composer envisioned it, in a presentation now servicing not the film but the album. It's already played in the film. Let's now hear it on its own. It's no secret that people who only want archival souvenirs of the film are not my all-time favorite people.
In the case of this score, the cues not heard in the film were cut and/or dialed out of their respective sequences after the scoring sessions had been concluded. Though originally intended to be in the film, they were simply dropped during final editing. So I wanted to put them back where Bruce designed them to be. (And he did, too). The "extras" in this case were actually earlier takes that no longer serviced the needs of the film because revised versions of the same cues were written and recorded, and those versions now appear in the film and on the CD as they were intended. While these earlier takes no longer comfortably fit into our album's main musical program per se, they were still cool enough on their own to be included at the end as extras. End of my soundtrack soapbox.
--Doug
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