After the previous year’s Youngblood I guess everyone thought Torch Song were dying to score another sports movie. It was all a bit much for Laurie Mayer though, and she begged off of this one. I therefore took up the slack and helped William finish the score. We were so pressed for time that for years afterwards, “hotshot mode” meant we weren’t getting any sleep for a few days.
In fact this film has a lot going for it, not least the legendary Pelé. I’m sure a lot of young soccer enthusiasts really enjoyed it. William did some good work; four minutes into the movie the score kicks in rather nicely as our hero takes off in his car.
Some time early in 1985 Torch Song did a soundtrack (Youngblood) and to help with this a fiendish new piece of kit called a synchronizer was procured, a ridiculously over-complicated device which however did allow the syncing up of video machines to our trusty 24-track.
News of this cutting edge acquisition brought back our old chum Jeremy Healy, who had been branching out and applying his turntablist skills to the old disciplines of the Foley Room, to whit the synchronizing of sound to a pre-recorded picture.
Having done a few TV commercials by the older method of lining the decks up by eye and hoping for the best, it was incredibly exhilarating to have everything come back perfectly synced to the frame, every time. Thus a commercial for boil-in-the-bag rice provided me with another major cranial light bulb moment.
Then Jeremy landed this gig doing sound design for Duran Duran’s “Arena” video, which comprised live footage of the band on their 1984 world tour intercut with footage of Milo O’Shea and the Time Bandit guys supposedly trying to sabotage the show, out of peevish revenge for flagrant moniker theft.
This selection is typical: our heroes grind out their set while dastardly things occur behind the scenes, including, inexplicably but who cares, two robots having sex in a swimming pool filled with green slime. I wish they’d mixed the sound effects a bit higher on that one.