Goldsmithfan

Personally, my favorite version of the Imperial March is the simple ostinato version heard on track four of the Empire Strikes Back SE at about the 1:15 mark. Considering it's just an ostinato I doubt this truly counts to most people on this board, but I like this much better than the full version. It has a simple, driving power to it that the melodic renditions don't have. Although that may just be due to the fact that the theme has been so over-used in pop culture. That's one huge advantage of being a Goldsmith fan. Rarely happens with him!

I like the second score better, but I know what most other people on this board think of it so I'll stop right there.

Kinda what I was getting at, but I probably should have come out and said it. Yay! I'm eloquent. (Unless that's irony being used....) - Goldsmithfan, who was really surprised (yet glad) to see that Syd Barrett was mentioned in this thread.

That's accurate for the bubblegum style of their music pre-Revolver, but they were in no way a manufactured band and actually knew how to play instruments, rather than wearing headsets at concerts and dancing to pre-recorded crap like a bunch of six year olds. Then, from Revolver on, they took charge of their music and became something really special. People who say that their entire run was that of a boy band are completely ignorant (in no way targeting you Elmo). People still listen to The Beatles now. Will the same be said for the Backstreet Boys in forty years? Highly doubtful. Did the Backstreet Boys change the face of popular music? Not on your life.

I vote for Elliot Goldenthal!

I can understand Powder and Dennis the Menace being near the bottom, but Hollow Man and L. A. Confidential?!? Meh, I guess to each his own. I'd do this, but I don't feel like spending time to figure out what would fit in the middle. Best is easy, so's least best (excellent grammar), but the middle would be the tough part.

Man, the Goldsmith selection sucked. I figured Star Trek: The Motion Picture would be up there. It was. Then Alien popped up. Big surprise. I have nothing against these scores, but there are others that I like a hell of a lot more. Legend comes to mind. But for god knows what reason they had the Tangerine Dream score listed. It's okay. That's about it. Basic Instinct also comes to mind. Nowhere to be found. Probably because that was the year the Academy gave Jerry the biggest slap in the face ever... by voting for Aladdin. It seems like the people who compile these "Best film score EVER" poll selections are film music versions of all those people who claim they like Pink Floyd, yet only know material from Dark Side of the Moon, Wish You Were Here and The Wall. - Goldsmithfan, who voted for The Final Conflict (At least they got one Goldsmith selection right)

That's the first one I thought of too. Such a great score with such a terrible representation on album. I've only listened to the OST, completely, once. It was so disappointing. True story. I believe it starts with "Rock Shop" before it segues into "Home" and finally "The Dream". I only watched the credits all the way through once about five years ago so I could be mistaken. And I don't believe any of the cues are heard in their complete form. Personally, I couldn't care less about having a slice 'n dice end credits "suite". When Varese released their so-called deluxe edition, I was elated. Then I saw the track list. There's hardly any score missing from the OST but instead of adding those cues, they give us the music heard in the commercials! I want the material for the scene when RoboCop is first presented to that room of execs! And where's the cue that starts right at the end of the target practice scene? Hmmmmmm? IDIOTS!

Ditto. Yeah, that really perplexes me. How can you put out a crappy product and then assume the fans merely aren't interested when it doesn't sell well. I bought last year's DVD release of the original trilogy but that was merely because I never intended to get the films on DVD unless we were given a choice. I'm sure the lack of an anamorphic transfer for the theatrical versions was George's idea. Just his way of pasifying the fans while simultaneously thumbing his nose at them. At this rate we'll have the complete prequel scores in about... fifty years.

I used to get totally screwed when I first really got into scores, actually buying boots, before I discovered the much friendlier world of trading. But the most expensive score I ever bought was a legitimate one. I got a copy of Conan the Barbarian (Varese) on Ebay for $45. It's steep, but I love that score and feel like a dork not having a pressed copy. And I had the money a the time!

I've never met Maestro Williams. Although I did have a dream that I met Goldsmith at a concert. Although he didn't look like himself at all. And he seemed to know me... Weird.

I noticed that when I first heard it, but I didn't think there was any error involved. To me, it sounds like it was supposed to be performed like that. Never questioned it for a second!

I concur! I'm glad I'm not the only one...

I don't know if I'd go that far with my description of the music. Sure, it wasn't the wallpaper that we heard all through most of DS9 and Voyager, but I wouldn't say it came close to Jones' or McCarthy's best work on TNG.

Man if this turns out to be true, I am definitely not seeing this film. Cruise isn't worthy enough to be in a Star Trek film cameo or not... I'm with you. Not only is Cruise not what Star Trek needs, but neither is a prequel. People kill me saying that this is a new direction for the franchise. Hmm.... last I checked, Star Trek left off with a prequel series. But I may be mistaken. Star Trek doesn't need a re-tooling. It needs fresh writers who can see beyond what's already been discovered as marketable and return to its roots. Star Trek is about exploration and delving into complex ideas through metaphor. But instead of going in the original, optimistic and philosophical direction that Roddenberry intended, the writers have constantly tried getting darker and darker. That's why the fans left the shows. Return to exploration and optimism and you'll have your precious audience back. That's what they fell in love with. Hiring J. J. Abrahms who's "fixing" it by populating the film with pretty faces and actors from the original series is a completely idiotic and over-commercialized idea at best.

I disagree with this statement. The full score for Nemesis took me several listens to really love it. You may be one of the only people I've ever seen who dosen't trash everything associated with Nemesis. Good job; you're not as anal-retentive as some of the other Trek fans I've seen. True story! I think a lot of the people who do that are the ones who would sleep with Kirk if they could though. I don't mean Shatner. Kirk.

I think it's probably good genetics (Steef beat me to it by the time I posted!) combined with eating like a fully-grown adult. Back to what I originally came here to post: This has probably been mentioned about eleven octillion times before, but does anyone think that the new Indy film will cause the first scores to be rereleased... and perhaps in expanded form? God knows Temple of Doom deserves it!

I'd heard that on TV a few hours back and was moderately excited. I know Karen is a terrific actress and it's good to hear that she'll be playing Marion again, but the last time I'd seen her she looked somewhat aged since her appearance in Raiders. I believe it was in the making of Animal House actually. To see her there is utterly shocking. She hasn't aged a day since 1981!!! Still adorable as ever. I'm glad to see that the footage I last saw was a fluke. Hopefully I don't sound like a jerk. Meh, I probably do! I'm just glad I'll be seeing my favorite Indy girl back in action!!! Goldsmithfan - Who really needs to get the Indiana Jones DVD set...

I find it hard to believe so many people don't like this score. There's something about it that draws me in. Sure, the action writing isn't as spectacular as the material in the original trilogy (What is?) but overall there's something very special about it. It has a very different feel from the other scores and I can't quite nail down just what makes it so spectacular in my opinion, but it's probably my favorite of the prequel scores. "Love Pledge and The Arena" is one of my favorite cues ever. Then again, I look at everything from "Return to Tatooine" on as one big finale. It's such a great buildup. I love it. Speaking of "Return to Tatooine" does anyone know why Williams stopped weaving "Duel of the Fates" into the scores so soon? It was used extensively in The Phantom Menace and I don't remember any other use in Episode II besides the aforementioned appearance and it was tracked into Revenge of the Sith but wasn't there talk about Williams actually having written a new arrangement for that scene only to have it tracked over? I don't know. I'm no Williams expert.

Oh, that's not me at all. You'll find that I'm more accepting in general of all things, film music included, than a lot of people here. It just sounded bad to me. I'm not even saying it's a bad score like most people would...just that it really distracted me and pulled me out of the film, and that I didn't enjoy it. At all. Ray Barnsbury Well, in that case, at least you gave it a try. Some pople read "Vangelis" or "Brad Fiedel" and the idea of liking the music becomes completely alien to them.

You say that like it's fact! I thought the score worked wonderfully with the film and I didn't see it until 2005 for cryin' out loud! I think sometimes people hear synths and think "DATED!" without really listening. Although something can be dated and still good (Fright Night, Hour of the Gun) I don't find the score to Blade Runner to be remotely as dated as other scores that are more widely accepted.

Actually Goldsmith said that Donner liked the ostinato that Williams used for Jaws and thought it was very effective so he requested a forceful rhythm for "Broken Vows". Not quite the same thing, but your point is 100% valid. Like when Goldsmith was asked to take the first few notes of "Anvil of Crom" and stick them in Total Recall. Hell, Ron Jones said that directors have told him outright that "This should sound like John Williams".

God, he looks like he's just this side of giving the thumbs up sign and saying, "Aaayyyyyyyy!" Naturally there will be a scene when Indy can't turn on a jukebox so Shia will walk over and slap it, thereby starting the exact track his father wanted to hear. Indy will naturally say something like, "You really need to teach me that." Shia will reply, "Sit on it nerd!"

That doesn't make one bit of difference. Regardless, be sure to check out this story. Neil Hilarious. Except that you're not missing as much as he claims - The Matrix Reloaded was shot on Super 35. With all the effects shots in that film, 80% of it is cropped.

That occurred to me as well, but I didn't want to say anything. I should have just remembered where I was.