Goldsmithfan

I have a tendancy to listen to Animals by Pink Floyd. Just listened to it not too long ago. And thus ends the glimpse into the mental and emotional state of Goldsmithfan.

When you listed the Imperial March, did you mean the melodic rendition or the more rhythmic ostinato that was used in The Empire Strikes Back and nowhere else (sadly)? Or both!?!

I absolutely ADORE his score to Flesh + Blood. If any one of his scores deserved an Oscar, this was it. People always try to say it's a counterpart to Conan the Barbarian but they are absolutely wrong. While both have a lot of action, Conan was action with several flurries of beauty here and there. The action was quite blatant and harsh (in a very good way) and the beauty cues were fairly Hollywood traditional. Flesh + Blood on the other hand is a very, very thematically complex and elegant score. The action cues, which I realized were "classic Poledouris" upon my first listen, are some of the best I've ever heard ("The Box" and "Arnolfini Assault" rank among the best cues ever written in my opinion) and Poledouris managed to counterbalance all the intricate and perplexing action setpieces with a strong set of beautiful cues. ("Courtship and Mandrake" as well as "Martin and Agnes' Love Theme" are some of the strongest, as well as the excellent rendition of the Steven and Agnes love theme that comes before the end credits) Poledouris also intricately mixed themes to express the situation the characters are placed in during the film. The theme for Martin and Agnes plays as a perfect countermelody to the battle ostinato during "Castle Invasion" and Hawkwood's theme blends perfectly with the rest of the finale in "Denoument and End Title". In short, this score is an epic whose only shortcoming are the two limited releases that it was given. This score deserves much more recognition than it will ever get. The absolute genius action cues and sheer gorgeous qualities of the love themes ("Martin and Agnes' Love Theme" is a track that any composer would sell a limb to have written and gets me every time) contained in Flesh + Blood make it a testament to all that film scoring should be and has sadly lost in the recent years. There will never be another Poledouris, and this score proves it.

I watched the "excellent" film entitled Virus. I bought it when I was too young to realize how crappy it is. Still having it on VHS, I decided to watch it just for the hell of it a couple nights ago. It was crappier than I expected it to be. McNeely's score is the only plus. However, watching it made me remember something I'd heard about his score. Is it true that he originally scored the film with a full chorus throughout the film, but the director or someone didn't like it so the chorus was worked out of the score? That's absolute bullshit if it's true. I mean, adding a chorus can add a LOT to a score (and the film it's written for). And this movie needed all the help it could get. NOTE: Just remembered . . . The little Russian chick was quite a plus as well! How could I forget her? Stupid Goldsmithfan.

Who cares about the name. I'm buying to watch the movie. I know, but it's SOOOOOOOOOOOOOOOOOOOOOO stupid!

But could the name of the release sound any dumber? "Family Fun Edition"? What the hell were they thinking?

They might just . . . like the scores . . . But what do I know?!?

I agree. There is much acclaim for this score and I definitely like it's sense of atmosphere and how it complements the action. But the music by itself just doesn't interest me much. I've tried many times to "get into it," knowing that there must be something I'm not getting, but it usually disappoints. I love the opening track and a few other pieces, but the action music is just a lot of loud brass to me. Ted A lot of loud brass? You seem to be missing a lot! One of the reasons that I love Goldsmith's music so much is his extensive use of strings, which remains evident in action cues. With most composers, once action starts in it's 90% brass, but he manages to stay fairly string heavy. The passage during "Clever Girl" when Arnie is using the pedestrian as a human shield has a very strong string action passage. There are other incidents of this all throughout the score. So it's actually loud strings and brass! 8O

Those two are very different than Total Recall, but if we're looking at them from a pure 'action score' standpoint then I'd say that Total Recall is better. Although I love Air Force One yet still haven't gotten around to buying it or First Knight!!! But I'm probably weird in my own way because I prefer Hollow Man to Total Recall. Total Recall is pretty deep for an action score (the Deluxe Edition is anyway) but Hollow Man has sooooooooooooooo much going on in terms of thematic variance. Horror, action, suspense, a brief appearance of a love theme, discovery. Everything!

I'll list ones that I like that I like that don't seem to be well-liked by many in the score community . . . Just because I'm Goldsmithfan and can do what I want (like put up a post on JWfan while listening to "Don't Let Me Down" by The Beatles!) - The Terminator: Definitive Edition - Terminator 2 [These first two seem to be enjoyed by a select group of people who have seen the films, as well as Fiedel fans (all five of them . . . and me) but other than that they get slammed like a whore on Saturday] - The Evil Dead [This little misunderstood classic is a miniature masterpiece in my opinion. If you take into account the reason the orchestrations are what they are because of the fact that they were on a shoestring budget and not because LoDuca was totally in love with synths at the time (not that there's anything wrong with that; I love 'em!) I think you'll understand what he had in mind. Many of the effects are obviously supposed to be brass. I really shouldn't even be making excuses for this score because, being able to stand on its own merits, it doesn't need any. But a lot of people here hate electronics so maybe I should be quiet before you burn a giant 'A' on my lawn . . . meaning accoustic.] - S*P*Y*S* [say what you will about this score, but I love it. S*P*Y*S* is a true testament to the fact that Goldsmith always had Williams beat in the being willing to make his music into a huge joke area. Some comedies demand it. And a film that stars Elliot Gould needs all the help it can get. Every once in a while I need a nice, fun score to listen to and this is certainly the wakiest I've ever heard. Take that space coyote!]

Didja ever read The Exorcist? I read it before I saw it and, in my opinion, the film version is probably the worst book adaptation I've ever seen. Absolutely atrocious lack of common sense regarding the buildup to the possession. I'm not saying this in defense of The Omen, which I like but not nearly as much as I used to, but just to try to get into the head of one of the many people who say The Exorcist left a lasting impression on them. After it was over, I wanted to get the past two hours back.

That's right! Besides, I would never do anything like that with a cat. Now, pussy is another story . . .

I once had sex while Aliens was playing in the background. I, being the perfectionist, had to keep up with the rhythm of Ripley's Rescue at one point. In certain areas my female counterpart was fine. At other times, I couldn't tell if she was approaching climax or just dying (the clanging anvil section that actually appears in its proper place in the film comes to mind). It was scary. I think the moral is clear from both these stories. Having sex with a Horner score in the background just isn't a good idea. I thought people like us couldn't have sex. They don't say what they were having sex with. "Female Counterpart" is pretty vague. Could be the cat! Speak for yourself fothermucker!

I once had sex while Aliens was playing in the background. I, being the perfectionist, had to keep up with the rhythm of Ripley's Rescue at one point. In certain areas my female counterpart was fine. At other times, I couldn't tell if she was approaching climax or just dying (the clanging anvil section that actually appears in its proper place in the film comes to mind). It was scary. I think the moral is clear from both these stories. Having sex with a Horner score in the background just isn't a good idea.

It turns into a joke because people get confused very easily, and rightly so. http://imdb.com/title/tt0104346/

I know this may be a long shot, but someone already said that Townson mentioned a Goldsmith release would be popping up in the latter half of this year. That got me thinking . . . What if this boxing mumbojumbo isn't regarding Rocky? What if . . . It's for Goldsmith's rejected score to Gladiator? Hmmmmmm? That would be quite interesting.

Upon my last viewing of Raiders of the Lost Ark I suddenly realized how similar the music for the snakes in the Well of the Souls is to the snakes and creepy crawlers' music in The Empire Strikes Back. The first cue that comes to mind is 'The Magic Tree'. Anyone know if it was intentional? Or maybe a brain fart because the scores were written so close to each other? I dunno. I'm Goldsmithfan; I'm clueless!

Wasn't there already a thread like this where we established that the notes used in Rachmaninoff's 1st Symphony, while similar, are not the same? Either that or I'm losing it even more than I thought.

BLASPHEMER!!!

I concur. I watched "I, Mudd" on TV yesterday and noticed the rerecorded theme immediately. Much like adding any CGI to the original Star Trek, it's entirely gratuitous.

Goldenthal should have at least been on the list. Even though he hasn't written anything for film in years. He's a wicked good composer.

Free Shadows of the Empire? How does that work?

Too bad The Ring ripped key elements from the story of The Changeling.

Yeah, that's the most disgusting thing I've ever posted. Ever.

Probably. Like, um . . . When did JW first get "handy" with himself?