Legend: Waltzing Dress Scene (1985)

Due to the changes in the film from its European and American releases, Legend has two different soundtracks. The first, produced and composed by Jerry Goldsmith, was used for its initial European release and restored in the director's cut edition of the Region 1 DVD release. The second soundtrack features music by German electronic artists Tangerine Dream and was used for the initial theatrical and home video releases in the United States. Both soundtracks are available on CD, although the Tangerine Dream soundtrack has become harder to find.

Director Ridley Scott and Universal delayed the North American theatrical release until 1986 so that they could replace Jerry Goldsmith's score with music by Tangerine Dream, Yes lead singer Jon Anderson, and Bryan Ferry. Scott allowed Goldsmith's score to remain on European prints and the composer said, "that this dreamy, bucolic setting is suddenly to be scored by a techno-pop group seems sort of strange to me". Normally, Goldsmith would spend 6–10 weeks on a film score, but for Legend, he spent six months writing songs and dance sequences ahead of time.

This is a re-imagined version of the "waltzing dress" scene from the 1985 film "Legend". Two versions of the film have been edited together by Michael Devling:

Due to studio concerns about the profitability of the movie, different versions of the film were released in various countries, and the changes that were made are significant. Ridley Scott's Director's Cut (2002) uses the Jerry Goldsmith score that was released in Europe. However, the dancing dress scene works much better with the Tangerine Dream score that was released in the United States in 1985. The European version is much longer, but the US release's Tangerine Dream score is superior, particularly in the Dress Scene. Since 2002, I've hoped that a version of "Legend" featuring the long version of the film but using the Tangerine Dream score would be released, but it has never happened. So this is what this scene might look and sound like, mixing the look of one version with the sound of another. Goldsmith's score for this scene is much longer than Tangerine Dream's, so I had to edit both the audio and the video for length. Sorry for the crude edits. I had to snip out seven seconds of film and even then I had to extend the Tangerine Dream score significantly. Even this amazing scene, sadly, wasn't left intact in the US edit.

Oona:
What care I for human hearts? Soft and spiritless as porridge! A faerie's heart beats fierce and free!

The Lord of Darkness: Oh, Mother Night! Fold your dark arms about me. Protect me in your black embrace. I sit alone, an impotent exile, whilst this form, this presence, returns to torment me!

Blix: Black as midnight, black as pitch, blacker than the foulest witch.

And in case you ever wondered whether the unicorns filmed in Legend had anything to do with the unicorn scene in Blade Runner, I found the following interview with Paul M. Sammon in the book Interviews With Ridley Scott:

PAUL M. SAMMON. I’d like to begin with a query regarding one of Blade Runner's biggest question marks: the ”Unicorn Scene” in the Director’s Cut that moment in the film when Harrison Ford is slumped at his piano and daydreaming about this mythical beast. Before we get into that shots thematic meanings, I'd like to ask about its origins. Was it in any way influenced by Legend, the film you did after Blade Runner, which also features unicorns?

RIDLEY SCOTT. No. That unicorn was actually filmed prior to any thought of making Legend. In fact, it was specifically shot for Blade Runner during the post-production process. At that point in time I was editing the picture in England, at Pinewood Studios, and we were heading towards a mix. Yet I still, creatively speaking, had this blank space in my head in regards to what Deckard’s dream at the piano was going to be all about.

And also in a 1982 interview with Starburst magazine in an article entitled The Blade Cuts:

M: Did you actually shoot the sequence in the glade with the unicorn?

S: Absolutely. It was cut into the picture, and I think it worked wonderfully. Deckard was sitting, playing the piano rather badly because he was drunk, and there's a moment where he gets absorbed and goes off a little at a tangent and we went into the shot of the unicorn plunging out of the forest. It's not subliminal, but it's a brief shot.

by North Utsire