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My son and I were talking tonight about the Marvel movies and the music and got us thinking about what if Jerry Goldsmith was in his prime when the bulk of these movies were made. 

 

Thinking back on how only Goldsmith could get away with the bold and over the top First Knight score, and what he did for The Mummy, just think of what he could have done with Iron Man, Captain America, and the Avengers films. 

 

So in thinking of What Ifs, what if Goldsmith was around for the Marvel movies? 

 

What if David Arnold was to do a Star Trek film? 

 

What are your What Ifs? 

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He would be about 250 years old and completely deaf.

What if Poledouris had actually scored Dances with Wolves?

My son and I were talking tonight about the Marvel movies and the music and got us thinking about what if Jerry Goldsmith was in his prime when the bulk of these movies were made.    Thinkin

So far I don't get the point of this thread.

@stewdog1You talk about some IFs, but what are the WHATs then? What would it be like, if Jerry Goldsmith did an MCU score? Without making any assumptions here and even try to give an answer only putting the question doesn't make sense to me. But I would definitely be interested in your ideas. :)

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9 hours ago, GerateWohl said:

So far I don't get the point of this thread.

@stewdog1You talk about some IFs, but what are the WHATs then? What would it be like, if Jerry Goldsmith did an MCU score? Without making any assumptions here and even try to give an answer only putting the question doesn't make sense to me. But I would definitely be interested in your ideas. :)

It's just a play on the What If Marvel series that is coming up. 

 

But I guess we can just delete this 

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5 minutes ago, stewdog1 said:

It's just a play on the What If Marvel series that is coming up. 

 

But I guess we can just delete this 

I got that. Don't worry. I just meant, also the What If Marvel series dies not just put questions but actually answers them. I just didn't see the point in just asking questions without answering them. But I don't want to spoil the party. Sorry.

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Whatever the if or if nots... I'd definitely have liked to have heard a Jerry Goldsmith Marvel score, although hard to know how it would have sounded like. When he was alive, superhero scores had a much wider range of styles and there wasn't really any attempt to tie them all together into a vaguely homogenous sound, so I think he'd probably have hated having to just ape someone else's sound.

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5 minutes ago, GerateWohl said:

Maybe it's also worth having a look at his DC superhero score for Supergirl. 

I'm not sure that's necessarily the best reference as he was clearly asked to write a John Williams style score. I guess it somewhat counters my earlier comments about older superhero movies having scores in a wider range of styles, although this is probably the closest those older movies got to have a shared universe.

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7 minutes ago, GerateWohl said:

Ok. Then probably Total Recall or The Mummy might really be a better reference for what we might have got from him. But we don't know.

I am not so deep in Goldsmith action scores anyway.

Or the Shadow, of course, but those are probably decent references. Plus I'd add the 13th Warrior to those. Maybe even the later Rambo scores for the muscular action music. An 80s/90s Marvel universe with scoring duties shared between Jerry, Basil, Danny Elfman, David Arnold, maybe James Horner and perhaps a few outliers for the quirkier entries would have been pretty damn great.

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What if John Williams had scored a true animated film, like Goldsmith and Horner did?

 

What if Horner had scored a Pixar film?

 

What if Bruce Broughton scored a Star Trek film?

 

 

7 hours ago, Kühni said:

What if Poledouris had actually scored Dances with Wolves?


 

As wonderful as his score to Lonesome Dove was, I can imagine his Dances score would have equally as good.

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Here's a good one imo, what if Uematsu actually did big name orchestral scores like Star Wars.

What if he was the most famous composer with lots of experience and connections? I think he'd be as good as Williams/or is. What if Uematsu built some of his career writing for big movies like Star Wars, or E.T or Harry Potter.

 

Answer: His music tends to be way more melodic than Williams, which is perfect for the game industry, where as Williams is more detailed and progressive which is good for film. The trade off is that I think Uematsu can easily write material as iconic as Williams, like how Jurassic Park sounds iconic, but for a film score he would have to start improving his orchestration and hiring an orchestrator to collaborate with. Because he's such an incredibly diverse and eclectic composer, he might be more perfect for Star Wars, where as he'd fall shorter on a more normative genre like Indiana Jones. The best thing is he'd probably bring less orchestral gimmicks to film, and more creative ethnic and new age instrumentation, while keeping intact his highly iconic/memorable identity as a composer: I believe he is a lot more subtle and nuanced in this way than Williams. This style has been long needed in classical/scores as a whole! Maybe a new composer will emerge who's influenced by both composers' strengths.

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