Hope for The Fugitive? Paramount is willing to listen (1 Viewer)

[sestamuch]

There was definitely a slight misjudgement in the conclusion but it was nice since it's giving The Fugitive some attention.

 

[Ric Easton]

I still haven't bought The Fugitive: Season Two, Vol. 1, but Amazon has a great price on it at 20.99. Is CBS/Paramount they still offering the replacements?

 

[jdee28]

The article was a fluff piece. Not much investigative reporting there. I also don't like how the writer resorts to the tired cliche that's it only a small group of obsessive fans who cared about this issue, only those who, in her words, "memorize the theme song, who know the most recondite plot particulars and who can recite the dialogue along with the cast." Come on. When all the music is changed from one of the landmark series of the 1960s, I would think, or at least hope, anyone remotely aware of our cultural heritage might want to know why and if the situation could be remedied.

Also, if it was just a small group of devoted fans who cared, CBS/Paramount would have done nothing. Just look at My Three Sons.

 

[michael_ks]

Here's a tip, Mr. Ross. Consider the original soundtrack to be pretty much essential in every case.

 

[Neil Brock]

Probably written by a 25 year old with little or no knowledge of any classic TV beyond I Love Lucy, Twilight Zone or Star Trek. Typical of the attitude of people who see things that are not important to them as being not important to "normal people".

 

[Gary OS]

Exactly, Michael. Well said my friend.


Gary "I'm not sure how much this article helps the cause when it misses on so many of the facts in this particular case - I still say the Burlingame article is the quintessential piece" O.

 

[michael_ks]

So true, Gary. Not surprisingly, his encyclopedic knowledge of the subject served him exceedingly well. Interestingly enough Jon Burlingame wrote a excellent book on the subject of vintage television music around 10 years ago that I very much enjoyed for its comprehensiveness and its exploration of the business of composing and recording music for television. But how did he get rewarded? With a silly "let's all have fun with this subject you baby boomers out there" cover which asked prospective buyers "how many of the TV titles listed here can you hum?"

 

[jdee28]

I agree wholeheartly, Gary. I came to the Fugitive late, after watching Twilight Zone, Gunsmoke, Perry Mason, and hearing those CBS Library cues just increased the charm of the show to me. To just get rid of them when they didn't have to, and then not restore every single one of them out of sheer laziness or whatever, really doesn't sit well with me; I'm not satisfied.

CBS/Paramount's whole handling of The Fugitive fiasco, not to mention their long-winded release schedules, has just served to alienate me from most of their product. I really could care less now what they are doing. I'll pick something up if it interests me, like Gunsmoke, Perry Mason, Rawhide, but supporting them whole heartedly on whatever they release, or even caring? Those days are long gone. Life's too short.

 

[Gary OS]

I'm with you, John. I had watched those earlier shows first as well before latching on to the Fugitive when it aired on A&E in the early 90's. The CBS Library cues are every bit as important to me as the Rugolo score. I'm not saying they are more important. Just that they are as important.

Like you, I too have stopped supporting CBS/P as much. Last year at this time I was buying almost every 50's - 70's dvd they would put out, even if I didn't care as much about certain shows. I just wanted to support the company because I was so happy with their treatment of vintage TV. No more. Now they only get my business if the show is really important to me, and even then I wait for 50% off sales most of the time. I don't pre-order much of anything from them now.

Gary "amazing how quickly things change in this industry" O.

 

[JLKINSER]

Hey All

My friend Mark has been in touch with the VP at CBS/Paramount.

Thanks to him we now have the email addrss to the VP at CBS/Paramount. Mark has has actually spoken with the VP at CBS/Paramount. According to the VP, they have not heard mcuh bad about the Season Two sets. He told Mark that if enough people contacted him they would see what they could do to fix it. Here is his email:

[email protected]

his name is Mr. Jeffrey Nemerovski, VP of CBS Entertainment

Tell everyone you know to email him.

Here is the letter that Mark sent:

Dear Mr. Nemerovski;

I spoke to you by phone on May 13th, stating my displeasure with CBS' treatment of the Season 2 DVDs of The Fugitive series. My issue concerns the music "sweetening" process your company enforces.

As well documented, the first volume of Season 2 from The Fugitive was overwrought with substitute music. Much of the music was shrill and maladjusted to the scenes which it embodied. Great writing and acting aside, the music changes made for an extremely unpleasant viewing experience. In short, true Fugitive fans swiftly discerned where Pete Rugolo's legacy concluded and where entry level type musical inflections began. Needless to say, the series did not FEEL like The Fugitive.

We fans complained in hopes that you would listen. Many of us sent back proof of purchas labels for replacement discs. The discs we received featured a few more Rugolo and Capitol cues, but obvious alterations to the musical score remained. Among them, the song "There's Just One Road I Travel" from the Ballad For A Ghost episode was removed. Why? There couldn't have been a copyright issue for a song written by a regular contributor to the series. I am speaking of writer George Eckstein. He wrote the song specifically for that broadcast. The episode had more than a minute of action excised.

In another episode, Escape Into Black, we were led to believe that perhaps all but 39 seconds of music was original. However, a careful review of this episode with a VHS tape (which I have) compared to the DVD replacement disc, features some 25 music alterations. Many of these are unnecessary in content. Without canvassing every episode, ALL of which I have seen some 25-40 times, I'd say about 40 percent of Season 2, Volume 1 features replacement music. Moreover, there are episodes with scenes in which some music is omitted outright.

I eagerly awaited the release of Season 2, Volume 2 of The Fugitive, convinced that CBS had put the "sweetened" music debacle behind them.
And lo and behold, I find out that Fun And Games And Party Favors, along with Brass Ring among others, suffer from the same musical malady. Once again, I, along with other enlightened Fugitive fans were completely crestfallen and deflated.

How tough is it to secure rights to calliope music you used in the pilot episode of the series? Background music in "Party Favors" was inconsiderably removed. Other episodes with replacement music in the extremely tense moments of the program are The Survivors, Trial By Fire, & May God Have Mercy. All told, Season 2, Volume 2 of The Fugitive contains about 50 percent of its original music.

When asked about the reason for the redesigned music, your company's reply is "well, the ownership of Capitol is in question", or "we're trying to avoid a lawsuit", or "there are royalty issues which make this very difficult".

My question is "Why weren't these things considered and discussed among management and your lawyers before the release of The Fugitive?" Companies of astute foresight, such as yourselves, usually take every conceivable legal precaution before distributing a product. And at the very least, a company will set aside a certain amount for potential legal complications. Apparently, this essential element of business practice eludes Season 2 DVD episodes of The Fugitive.

CBS owns The Fugitive & The Twilight Zone outright. Many of The Jerry Goldsmith cues used in The Twilight Zone appeared throughout The Fugitive series. Music stock libraries were interchangeable among shows in the 60's. If there were no conflicts of interest in 1963, then it is very dubious that one of these recording entities or estates would retrosue 46 years later. Not when CBS/Parmount is introducing The Fugitive and its musical corps to a new legion of fans. There is more money for Paramount as well as the estates of those involved with The Fugitive. Everyone wins.

IF CBS/Paramount was truly concerned about packaging The Fugitive at or near pristine condition, consultations with surviving musical contributors would've meliorated matters. Peter Rugolo is alive. He provided some 125 minutes of music for the show. Was he contacted by your firm? How about Ken Wilhoit and John Elizalde, the music supervisors of The Fugitive? Joel Goldsmith, Jerry Goldsmith's son, is a composer. There were many sources to contact to help detangle the music issue.

Taking the minimal approach to constructing Season 2 tells a customer that attention to detail is sacrificed in the name of mass production and a hurried profit. Taking the maximum approach to constructing season 2 leads to greater sales, fewer complaints and returns, and satisfied patrons. Not to mention a concerted effort by CBS to honor The Fugitive's musical and theatrical composition.

As I stated in our phone conversation, products are bought with a trust between a merchant and his customer. The merchant advertises a product with known or assumed features and the customer purchases believing the product meets their needs or desires. The merchant trusts that the customer will be happy. When a customer finds that the product differs greatly from its public billing, understandably, the customer will feel angry, betrayed, pirated, and desirous of a replacement or a refund.

Such has been the case in the recent history of CBS/Paramount releases. Wonderful TV classics bearing the CBS/Paramount trademark such as Gomer Pyle, Happy Days, Laverne & Shirley, The Odd Couple, and My Three Sons have been sold as merchandise resembling their nights of original broadcast. Then a customer finds that the DVD they own features SYNDICATED episodes with songs, background music and scenes changed or completely deleted. In some cases, scenes begin with the remnant of crowd laughter.

A continued indulgence in this glorified bait and switch method of operation will cost you longtime and potential buyers and big money. The aforementioned shows are relics of a television heritage which will never be equalled or excelled. That heritage could - and should - be furthered by CBS/Paramount. PROPERLY. TV ads (similar to the ones issued by Columbia House) would expose the DVDs likely to garner public demand.

In closing, I will say that we Fugitive fans are a sentimental, nostalgic lot who know that Pete Rugolo's music speaks in a way that Richard Kimble doesn't have to. By removing the pristine musical properties of this viewing gem, the show lacks the intensity, the emotion, the sympathetic hues, and the sense of foreboding danger which makes it the greatest drama of all time. The music is the backbone of The Fugitive. THE MUSIC IS THE BACKBONE OF THE FUGITIVE.

My advice to CBS/Paramount is this: Either re-release Season 2 Volumes 1 & 2 of The Fugitive with all or nearly all of its original music and cues, or offer your customers a complete refund. No strings attached. IF you must edit portions of musical cues, please provide the most minute, indiscernable adjustments as humanly possible.

If doing The Fugitive right is THAT big a problem, then outsource the show to entities such as Time/Life HBO, Image Entertainment, or Canada's Shout Factory. Their customers are satisfied with their products. The same can and should be said about your customers.

Thank you for your time.

Respectfully Submitted,

Mark Gaston

NOTE: The preceding was a letter I sent to Mr. Jeffrey Nemerovski, a Vice President for CBS Home Entertainment. The people at CBS/Paramount will not move unless WE Fugitive fans move. If you are sincerely troubled by CBS' continued tampering with the musical score of The Fugitive, let them know. Mr. Robert Dahl has, Mr. John Kinser has, and so have I. Get on board.

 

[Philip Brandes]

Does anyone know of a way to obtain the replacement disks for Season 2 Vol 1? Apparently the trade-in offer ended, the web page with the offer is no longer active.

Were the new versions ever put into retail production? Wondering if a purchase now would get the new or old disks...

 

[Sam Favate]

Seems to me your best bet is to wait for the inevitable complete series set, which could conceivably come after the two Season 4 volumes and if there is one, it could be before the holidays this year. Just speculation, of course, but it seems logical. Also, given the nature of how these volumes were released, a "complete series" set might just include a bundle of the previously released volumes.

 

[Harry-N]

While there is not a really good way to tell the two releases apart on the outside, there are some clues and a sure way once you open the set up.
If you can look at the discs themselves, on the "read" side, near the hub, there are some machine-inscribed numbers. If the numbers end in "R0", then you've got the original release with all Heyes music.

If those numbers end in "R1", then you've got the replacement discs.

But, as I said, there's no way to identify them before you open the package up. CBS/P used the exact same printed insert for both releases.

Here's another, chancier way to perhaps identify which set you'll get, based on the kind of keep cases that CBS/P was using. It helps if you have other releases, like Season One sets to compare to.

Stack S1V1, S1V2, and the unknown, unopened S2V1. Then look at the bottom edges of the three. If they all have the same solid silverish color, then it can be assumed that the keep cases are all the same and theres a good chance that it's the older, Heyes release.

If however, the bottom edge has a darker notch in the lower portion of the edge, centered toward the left, then you have the newer packaging-style of keep case that CBS/P used to send out their replacement sets. This is no guarantee of what's on the disc. For all I know, they could have started using the newer style of "page" inserts and continued putting in the old discs. I'm just going on what I've got, hoping it could be a valid clue. But at least you can make a semi-educated guess based on this anecdotal evidence.

The Season Three releases also have the leftward dark notch if you look at the bottom edge.

Hope that's of some help.

Harry