Goldsmithfan

Actually, I find The Fall to be one of the most terrifying, and spine-tingling, tracks of the score. It gets so maniacal as Damien is riding in circles. Gets me every time. Ave Satani, while creepy, merely sets the mood for the score in my opinion. The Ambassador from The Final Conflict is excellent as well. Great build-up. But I think everyone's mentioned everything I would have so I can't add anything. I just had to reply because I was mentioned!

A friend of mine wanted to see it when it came out. I didn't. I also didn't have any money so I didn't have to pay. I went in expecting a pile of crap and got to watch a pretty funny movie instead. I can't imagine why people would compare this to Bond. It's anti-Bond! That's why he took the Beretta instead of the P-9. That's why he's a fool. That's why he doesn't off a badguy and then say a really stupid 'clever' line afterward. I find the whole Bond thing to be overrated and done to death though so that's probably why I like anti-Bond so much.

I liked her better before she went fake blonde and lost weight. She was adorable in the first season of Dark Angel. I never watched the show seriously, but I'd always tune in for a couple of minutes to check her out . . . Then the second season came . . . and then the blonde. And now she's just another casualty to the thin, blonde, tan mass of Hollywood women. Oh, and the belly button pierce ain't helping.

I love Abbey Road. It's my favorite Beatles album. Although, I'm probably not allowed to say that because I haven't sat down to listen to The White Album all the way through . . . or Let It Be.

I figured I'd catch a proverbial earful for praising The Final Cut so much. I love it. In my opinion, The Wall is quite overrated though so we're on some of the same ground at least. I like Animals and Wish You Were Here a LOT more. But I wouldn't say that The Wall has any padding really. I like the less anthemic stuff. As good as Another Brick in the Wall pt. 2 and Comfortably Numb are, they're quite played out and too perverted in the mind of pop culture to be taken seriously anymore. Had I actually been around when the album came out, I'd probably have more respect for those tracks, and the others like them, but they've just been misconstrued in the minds of so many in Hollywood and just misunderstood as fun little anthems too much to be fun. Personally, I like the more sarcastic and satirical stuff a lot better. Anything that's not too optimistic seems to be musical gold for Pink Floyd. The first half of One Of My Turns comes to mind. And The Thin Ice. I like Pink Floyd when it's more Waters influenced so that's probably why I love The Final Cut . . . all written by Waters! And the whole subtext behind The Final Cut is very fascinating in my opinion so I like it a bunch. The Fletcher Memorial Home, When the Tigers Broke Free, Possible Pasts, The Final Cut, Two Suns in the Sunset . . . the whole album is magnificent in my opinion. But yeah, it's one of those that you either love or hate. I'm from the group that believes the former. I guess that makes me one of the few . . . but not the ones from The Final Cut.

That is hysterical simply because of the fact that the cat is oblivious to the fact that his movements on the keyboard change the sounds around him. So goofy. I tried to get my cat to do something similar to that when we first got him. I tossed his toy across the keyboard and he ran across. I could never get him to just sit there like the aforementioned feline. Wow, I'm pathetic. And I don't care. I also liked the ominous music before he jumped. A genius of a cat.

Are familiar with all the other albums? Morlock- who surprisingly finds a lot of elements in some of these songs to be very similar to what he looks for in a good film score track. The Final Cut by Pink Floyd has many score-esque elements to it. There are several motives that pop up here and there which represent certain ideas. And it's not all about loudness either. Any rock album that can keep that idea in mind and not crash n' burn is excellent in my book. Definitely the best non-score album I've ever heard. Hands down.

Not necessarily. Apparently, from what has been posted above, there really are "orchestral anvils", but I suppose that's just for convenience (or in some cases to get the right pitch). I assume the original anvils in music were just anvils. And don't forget that composers frequently use non-instruments in their works. Goldsmith used kitchen bowls in POTA, and Ades' Asyla has a range of old paint cans. Don't forget Goldenthal's use of scissors in Alien 3.

True. Probably referring to the recording technology at that time of year compare to today's digital recording ??? This isn't a question of analog vs. digital (analog wins anyway), this is just two very different sounds. The anvil in The Battle of Hoth vs. Manifest Fire from Sphere for example. HUGELY different sounds.

Difference in size. Would that justify the enormous difference between the sound of the Williams style anvil versus the Goldenthal style anvil? The Williams anvil sounds like a metal clang, but the Goldenthal style anvil sounds like a metal clang with absolute impending death. Or something like that.

I prefer 'He-Whore'. That way people sound like donkeys when they refer to my profession.

Mow lawns!?! I would never degrade myself by performing such an act. I'll stick with prostitution. Then you should have plenty of money unless you're butt ugly. Well you've obviously never seen the legendary Goldsmithfan. Otherwise, there'd just be no question about it. Imagine Tom Selleck. Then shave off his mustache. Then toss him aside because I look nothing like him. Then envision Rutger Hauer. Throw in a little Jim Carrey and Bruce Campbell and you've got a slightly less psychotic version of me. Or something like that. Seriously though, I meant that prostitution was my plan to raise money, not my current employment. I'm not that crazy!

Tron.

I've never heard a score sample used in rap. But that probably has something to do with the fact that I don't listen to rap. Although I know some who do . . .

Mow lawns!?! I would never degrade myself by performing such an act. I'll stick with prostitution.

I think I'm actually gonna go shove my head into the toilet . . . after someone's used it.

I just meant that I'm screwed in the way of money for a while. A WHIIIIIIIIIIIIIIIIIIIIIILE.

I, Goldsmithfan (!!!), had never heard of Crawlspace before this poll. What a shit am I/Iam!

I never got around to buying the OST until it went OOP so I still don't have it. I can wait a little longer. Although I still won't have the money when it's released anyway. God I'm f_cked. Goldsmithfan: A sad little monkey. :cry:

No, but he did work on the orchestral arrangement (and played the piano) for The Final Cut and The Division Bell. Sadly the latter sucked horribly, but he co-arranged with Ed Shearmur so that's an interesting tidbit. I could swear he's credited on The Wall somewhere. The album, I mean. I just rechecked and it said that he did do some orchestration. I guess seeing Bob Ezrin listed under orchestration for 'The Trial' is what really threw me. Looks like I owe you a coke!

No, but he did work on the orchestral arrangement (and played the piano) for The Final Cut and The Division Bell. Sadly the latter sucked horribly, but he co-arranged with Ed Shearmur so that's an interesting tidbit.

Does this question even need to be asked? I think not.

There probably isn't a 'set' way to do it. A lot of synth stuff is done before or after everything else is recorded. (Logan's Run comes to mind) Or, as Basil Poledouris mentioned when discussing Flesh + Blood , synths can be performed live with the rest of the orchestra. I personally think this should be done more because they're instruments, as is the rest of the orchestra. But it's not always possible.

I got this from the library a couple of weeks ago, but haven't listened to it yet. I'll have to check it out.

I'm pretty content with the already rereleased version. But I guess I shouldn't neglect to say that I'm not a huge fan of the score or film anyway. The film is way too uneven and around '82 Goldsmith seemed to be changing . . . for the worse. (With the exception of The Challenge and First Blood). Luckily, he was reborn via the synths of the immediately following years (and I know we're all grateful for that).