Not only is the music from the original Outer Limits program by far the best ever written for television, it is some of the best music ever written- PERIOD. It is phenomenal.
My favorite television show of all time, just brilliant in all departments. So happy I have the 4 disk set of the first season score. I like the second season but it is definitely not in the same class as the first.
Thank you for your work on this, David! That's my father, (Peter) Mark Richman, as Ian Frasier in what I believe was one of the first Outer Limits (if not the actual first) shows, created by Joseph Stefano (who also wrote the screenplay for Psycho). We were friendly with Dominic's ex-wife, Georgia, for many years but I never had the chance to meet Dominic--he was truly very gifted.
Your dad was simply wonderful in this most awesome Outer Limits episode. No other actor could've given a more believable portrayal of the scientist professor who discovers a boundary between two universes than did your father. In my mind Mark Richman ranks right up there alongside Robert Culp, David McCallum and Martin Landau in the history of outstanding performances for the original The Outer Limits television show.
The only words that come to my mind when I listen to Dominic Frontiers' music on Outer Limits are these.............."Many are called,...........but few are chosen". He was chosen. It's as if each successive chord in this sequence is opening up an entirely new door............
I first saw this when it aired- like most of the good 1st season episodes, it gave me nightmares! I just relived one here. DF music was always great. I hope we will see more releases of original ST recordings.
This was one of my favorite episodes of TOL. First saw it as a kid during some of the first reruns of the series. I have to say that the music was not lost to me on this episode from the first time I saw it. I was riveted by the story AND the music! It was the music that was the emotional tie to the action going on. It still effects me to this day. Thanks for the work on this piece and bringing it forward. A beautiful job! Dominic would be proud. He was THE music man for shows like this. Always been a fan.
This was aired around Christmas, or re-aired as a kid I watched it with my sister Cathy, 2 years older than I. When the actor was transposed into an electro-magnet dimension I hid behind the rocking chair as I thought the dramatic music was pulling me into the tv. Between Rod Sterling and the Outer Limits there was no soft dimension for landing normal as a kid.
I just love this stuff! Always was in front of the tube every wk glued to the couch mesmerized. TV was so much better then! Sorry showing my age. But it was more entertaining. Thanks for showing it. 🖖🚀
The Outer Limits really was on the cutting edge of visual effects technology. What was impressive to see in the end credits is there were different special effects companies that worked on each episode, which I’m sure was unheard of in 1963. Much of Dominic Frontiere’s music for the first season causes the hair on my body to stand up on end, especially the end credits music.
Especially on this episode! When they go into the power station to do the final experiments huge huge chunks are all optical effects shots! It must have cost a fortune!
Same here for sure, except when I wasn't being swooned by some of his utterly soulful, sumptuous or romantic sounds. But yes, as for the truly horrific, the only thing that might pack more fright was something that I think might have been entitled "Horror Upon Horror", which I think was composed Wilfred Josephs who I think Patrick McGoohan chose to score most of the Prisoner series. th-cam.com/video/9bcIGSaPnqc/w-d-xo.html th-cam.com/video/BlrzAnc_Jtk/w-d-xo.html
@@electraazteca6002 And even more amazing when one realizes each Outer Limits episode was filmed on a bare bones budget. Makes a difference when you have top-notch people in there.
A true labor of love. I'd even say that you actually IMPROVED the sequence (since the fake medium subplot was awful and the laughing face was a little over-the-top). BRAVO !! That musical track is my personal favourite from Frontiere's.
I worked for many years as a sound editor on both television and theatrical features. I worked on my share a television productions that were extremely rushed and changes were happening up to the last possible second. (The craziest was an episode of a well-known show that we finished its 6:00 p.m. New York time and it was on the air at 8:00 p.m. the same night!) Anyway when I was laying in the music, I discovered it really didn't synchronize with the release print. But then I discovered that if I deleted basically that laughing face shot everything synchronized with the music, especially in terms of hitting the dramatic beats. I think that the network demanded a last-minute re-edit or something like that and they had to add the laughing faces shot back in and the music simply wouldn't work in terms of timing and construction with that shot in it. So I suspect they dropped the music because of that shot. "Laughing faces" a long shot--it's not just a second or two and it would totally mess up the flow of the que. So I suspect that's what may have happened. I've seen it before where we got film changes less than 12 hours before air!
Superb, detailed exposition on the musical analysis of what is in my opinion Frontiere’s penultimate OL cue! It was only once I purchased the CD soundtrack for S1 some years ago that I was finally able to fully appreciate the seemingly forever ascension of notes building to a much anticipated climax for this incredible scene. This cue was also used in “The Special One” and “ZZZZZ” I believe.
Thank you for pulling this music up to be heard and appreciated. Always loved the Outer Limits as a kid. I have watched episodes with my children and really came to appreciate how well Dominic's music was perfect for the show and just great to listen to on its own. Don't know if he ever got awards for the Outer Limits music but he really should have.
Thanks for this upload! I think that the "epic" scoring was meant to get people to really pay attention, just like the fantastic opening chord followed by the somber narration, "there is nothing wrong..." which of course implies otherwise to most adults. But yeah, I got more deeply into Frontiere's short time with the show through Neil Norman's work.
I was 12 years old when The Outer Limits first appeared on tv.with such a shoe string budget they were innovative.This is one of my favorites.They were very crafty with the camera.
I've lately become obsessed with Frontiere's music for the Outer Limits and have begun reconstructing the use of his scores from the show in the film Incubus from 1966. Incredibly atmospheric and haunting even now. Thanks for doing this, it really improves the scene.
One of my favorite music cues from the whole series and perfect for what is being implied. To me it more then made up for the fact the episode had no "bear" or monster. The music gives the scene the emotional power of the scene in Poltergeist where Steven Freeling is holding onto the rope to anchor his wife Diane as she enters the doorway to the other side ("Steven, Don't Let Go").
Yes, I was wondering what happened to the fake mediums and those laughing mouths! LOL This is brilliant. The music is critical to the emotional impact of the scene. But now I'm going to be disappointed whenever I watch the original. I'll be fiddling with my remote to get the music louder! I recall reading that the great film composer Franz Waxman was very upset when his brilliant score for the "Bride of Frankenstein" was overshadowed by all the electrical sound effects used in the "creation" of the bride sequence. As you say, in the film industry, "sh*t happens".
WOW! So lucky were you to work with DF! I've dreamed about what those sessions were like with him, John Elizalde and Roger Ferris during those scoring sessions. But for MOST of what we heard in the first season Outer Limits-and Stoney Burke the previous year-wasn't it pulled from DF's TV music library which Quinn Martin commissioned him to compose and record to be used in the shows he produced throughout the 60s? From what I heard, with rare exceptions did DF score original music for episodes in those two shows, yes?
@@1Harpdude I've always wanted to know where most of DF's early TV music library was recorded and by which engineers. The liner notes in the first Outer Limits OST CD album said that most of what was used for that series (and possibly everything in Stoney Burke too) was recorded at Bill Putnam's Western Recorders, but i forget the name of the engineer. Would know any more about this?
@@1Harpdude I see. Anyway, all of season 2 used Harry Lubin's music. Some of my favorites th-cam.com/video/7Dj_G2D8u2Y/w-d-xo.html th-cam.com/video/24Cfgnm4dWQ/w-d-xo.html
To the uninitiated do try to find and view this episode in its entirety sans interruption. Keep your mind open throughout, and keep in mind it premiered on Stateside network television nearly 60 years ago. I viewed that premiere when I was nine years old. I view this now and it quite literally has the same impact, technobabble and all. However the score and cues may be remixed and synced, when everything in a production comes together like this you simply don't forget it.
Dom was a great composer, but he could be lazy at times. He often used his Outer Limits music on other tv shows like The Fugitive. He even re-used Lost for the John Wayne film Chism for the big cattle stampede scene at the end of the movie.
![Outer Limits: The Human Factor [Complete Soundtrack] (1963) - Dominic Frontiere](/img/n.gif)
Not only is the music from the original Outer Limits program by far the best ever written for television, it is some of the best music ever written- PERIOD. It is phenomenal.
100% correct...Extraordinary
My favorite television show of all time, just brilliant in all departments. So happy I have the 4 disk set of the first season score. I like the second season but it is definitely not in the same class as the first.
They had to work hard at acting back then. Amazing work.
One of the best episodes of the series
Thank you for your work on this, David! That's my father, (Peter) Mark Richman, as Ian Frasier in what I believe was one of the first Outer Limits (if not the actual first) shows, created by Joseph Stefano (who also wrote the screenplay for Psycho). We were friendly with Dominic's ex-wife, Georgia, for many years but I never had the chance to meet Dominic--he was truly very gifted.
Your dad was simply wonderful in this most awesome Outer Limits episode. No other actor could've given a more believable portrayal of the scientist professor who discovers a boundary between two universes than did your father. In my mind Mark Richman ranks right up there alongside Robert Culp, David McCallum and Martin Landau in the history of outstanding performances for the original The Outer Limits television show.
Thank you for sharing this! I truly loved your father’s performance! And also the two guest spots he did THE INVADERS AS WELL.
His music scores for the first season were a major component in building the suspense in each episode!
I agree! The Music seemed scarier than the Episodes! 😊
One of most powerfully composed cues ever created
I literally screamed when the video ended. I wanted to see the rest. That was intense!
The only words that come to my mind when I listen to Dominic Frontiers' music on Outer Limits are these.............."Many are called,...........but few are chosen". He was chosen. It's as if each successive chord in this sequence is opening up an entirely new door............
Awesome effort - I think the Outer Limits main theme is one of the greatest musical compositions ever written. So incredibly dramatic
Yep, it was big, epic, bombastic, over the top, loud, crashing...like rock and roll would soon be.
I first saw this when it aired- like most of the good 1st season episodes, it gave me nightmares! I just relived one here. DF music was always great. I hope we will see more releases of original ST recordings.
Yes ....This is brilliant...my skin had goosebumps
This was one of my favorite episodes of TOL. First saw it as a kid during some of the first reruns of the series. I have to say that the music was not lost to me on this episode from the first time I saw it. I was riveted by the story AND the music! It was the music that was the emotional tie to the action going on. It still effects me to this day. Thanks for the work on this piece and bringing it forward. A beautiful job! Dominic would be proud. He was THE music man for shows like this. Always been a fan.
This was aired around Christmas, or re-aired as a kid I watched it with my sister Cathy, 2 years older than I. When the actor was transposed into an electro-magnet dimension I hid behind the rocking chair as I thought the dramatic music was pulling me into the tv. Between Rod Sterling and the Outer Limits there was no soft dimension for landing normal as a kid.
I just love this stuff! Always was in front of the tube every wk glued to the couch mesmerized. TV was so much better then! Sorry showing my age. But it was more entertaining. Thanks for showing it. 🖖🚀
The Outer Limits really was on the cutting edge of visual effects technology. What was impressive to see in the end credits is there were different special effects companies that worked on each episode, which I’m sure was unheard of in 1963. Much of Dominic Frontiere’s music for the first season causes the hair on my body to stand up on end, especially the end credits music.
Df was a big influence on me
Especially on this episode! When they go into the power station to do the final experiments huge huge chunks are all optical effects shots! It must have cost a fortune!
Same here for sure, except when I wasn't being swooned by some of his utterly soulful, sumptuous or romantic sounds. But yes, as for the truly horrific, the only thing that might pack more fright was something that I think might have been entitled "Horror Upon Horror", which I think was composed Wilfred Josephs who I think Patrick McGoohan chose to score most of the Prisoner series.
th-cam.com/video/9bcIGSaPnqc/w-d-xo.html
th-cam.com/video/BlrzAnc_Jtk/w-d-xo.html
@@electraazteca6002 And even more amazing when one realizes each Outer Limits episode was filmed on a bare bones budget. Makes a difference when you have top-notch people in there.
A true labor of love. I'd even say that you actually IMPROVED the sequence (since the fake medium subplot was awful and the laughing face was a little over-the-top). BRAVO !! That musical track is my personal favourite from Frontiere's.
I worked for many years as a sound editor on both television and theatrical features. I worked on my share a television productions that were extremely rushed and changes were happening up to the last possible second. (The craziest was an episode of a well-known show that we finished its 6:00 p.m. New York time and it was on the air at 8:00 p.m. the same night!)
Anyway when I was laying in the music, I discovered it really didn't synchronize with the release print. But then I discovered that if I deleted basically that laughing face shot everything synchronized with the music, especially in terms of hitting the dramatic beats. I think that the network demanded a last-minute re-edit or something like that and they had to add the laughing faces shot back in and the music simply wouldn't work in terms of timing and construction with that shot in it. So I suspect they dropped the music because of that shot. "Laughing faces" a long shot--it's not just a second or two and it would totally mess up the flow of the que. So I suspect that's what may have happened. I've seen it before where we got film changes less than 12 hours before air!
@@1Harpdude thank uou for your diligent service.
The Black and White camera work especially the angles and perspective is astonishing . Theybwere able to take a nothing scene and make it terrifying
Superb, detailed exposition on the musical analysis of what is in my opinion Frontiere’s penultimate OL cue! It was only once I purchased the CD soundtrack for S1 some years ago that I was finally able to fully appreciate the seemingly forever ascension of notes building to a much anticipated climax for this incredible scene. This cue was also used in “The Special One” and “ZZZZZ” I believe.
This cue was also used prominently in "Production and Decay of Strange Particles."
RIP Peter Mark Richman
He was in the final episode of Stoney Burke.
A fitting end to a very original show.
The Special Effects were amazing for 1963!
Constant building in the score! Eva! Eva! I'm falling!
I think this is the most powerful episode of OL! The message(s) Power of Love is Beautiful!
And that financier needed grief therapy badly and have to accept that when you're dead you're dead there's no bringing anyone back from the dead.
Like other very successful productions, it is the music here for The Outer Limits that made it a smash.
Thank you for pulling this music up to be heard and appreciated. Always loved the Outer Limits as a kid. I have watched episodes with my children and really came to appreciate how well Dominic's music was perfect for the show and just great to listen to on its own. Don't know if he ever got awards for the Outer Limits music but he really should have.
I love Frontiere's music. He was never afraid of being melodramatic, never one to aim for a subtle approach.
Thanks for this upload!
I think that the "epic" scoring was meant to get people to really pay attention, just like the fantastic opening chord followed by the somber narration, "there is nothing wrong..." which of course implies otherwise to most adults.
But yeah, I got more deeply into Frontiere's short time with the show through Neil Norman's work.
I was 12 years old when The Outer Limits first appeared on tv.with such a shoe string budget they were innovative.This is one of my favorites.They were very crafty with the camera.
I've lately become obsessed with Frontiere's music for the Outer Limits and have begun reconstructing the use of his scores from the show in the film Incubus from 1966. Incredibly atmospheric and haunting even now. Thanks for doing this, it really improves the scene.
This is a major inspiration for Half-Life. Not so much the music but the setting.
Fantastic!! (your work, AND his)
Great episode!!! Trying to breach the other side to discover that undiscovered country.
One of my favorite music cues from the whole series and perfect for what is being implied. To me it more then made up for the fact the episode had no "bear" or monster. The music gives the scene the emotional power of the scene in Poltergeist where Steven Freeling is holding onto the rope to anchor his wife Diane as she enters the doorway to the other side ("Steven, Don't Let Go").
This was a very love oriented episode.
always liked outer limits wish i could see them all again.
Yes, I was wondering what happened to the fake mediums and those laughing mouths! LOL
This is brilliant. The music is critical to the emotional impact of the scene. But now I'm going to be disappointed whenever I watch the original. I'll be fiddling with my remote to get the music louder!
I recall reading that the great film composer Franz Waxman was very upset when his brilliant score for the "Bride of Frankenstein" was overshadowed by all the electrical sound effects used in the "creation" of the bride sequence. As you say, in the film industry, "sh*t happens".
The special one sir Richard ney they can't hurt you anymore.
WOW! So lucky were you to work with DF! I've dreamed about what those sessions were like with him, John Elizalde and Roger Ferris during those scoring sessions. But for MOST of what we heard in the first season Outer Limits-and Stoney Burke the previous year-wasn't it pulled from DF's TV music library which Quinn Martin commissioned him to compose and record to be used in the shows he produced throughout the 60s? From what I heard, with rare exceptions did DF score original music for episodes in those two shows, yes?
He did score many scores for OL--they would re-use cues, but if the story required 10-20 minutes of new music, he'd write it.
@@1Harpdude I've always wanted to know where most of DF's early TV music library was recorded and by which engineers. The liner notes in the first Outer Limits OST CD album said that most of what was used for that series (and possibly everything in Stoney Burke too) was recorded at Bill Putnam's Western Recorders, but i forget the name of the engineer. Would know any more about this?
Sorry that was before my time.
@@1Harpdude I see. Anyway, all of season 2 used Harry Lubin's music.
Some of my favorites th-cam.com/video/7Dj_G2D8u2Y/w-d-xo.html
th-cam.com/video/24Cfgnm4dWQ/w-d-xo.html
To the uninitiated do try to find and view this episode in its entirety sans interruption. Keep your mind open throughout, and keep in mind it premiered on Stateside network television nearly 60 years ago. I viewed that premiere when I was nine years old. I view this now and it quite literally has the same impact, technobabble and all. However the score and cues may be remixed and synced, when everything in a production comes together like this you simply don't forget it.
Wow.
Don't stick your hand into the unknown until you are willing to loss it.
"The Outer Limits" the show that put "The Twilight Zone" out of business over at CBS.
Very rare Outer limits episode.
Yeah I missed this one
We studied this stuff in honors linear algebra.
Dom was a great composer, but he could be lazy at times. He often used his Outer Limits music on other tv shows like The Fugitive. He even re-used Lost for the John Wayne film Chism for the big cattle stampede scene at the end of the movie.
Don’t eat the brown acid !
LOL!
Dante Superstition he from Katy Perry music video
Half-life
Is this cue on the OL cds? La-la land or the GNP Crescendo cds?
The Borderland piece is on the LA LA LAND 3 cd set! By all means GET THIS RECORDING!!!!!
@@deacondavis5098 Oh good. I have that. The 3 cd set with the brown TV on the front.
@@john-giovannicorda3456 That’s the one!!
Love the Outer Limits dearly but always considered Borderland one of the worst.....Still 46 good ones out of 49 isnt bad....