# Jerry Goldsmith Appreciation Thread



## robgb

Spent the morning on Spotify, listening to one Goldsmith score after another. If you want a true masterclass in composing for film, this is your guy. He could do anything.


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## nickaloo

Chinatown is a fantastic score - the opening credits give you the main theme, such and intense longing and sadness, and then you don't hear it again until Mrs Mulwray appears on the scene.


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## nickaloo

I also love the titles (music and graphics) for Total Recall (1990)


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## robgb

nickaloo said:


> Chinatown is a fantastic score - the opening credits give you the main theme, such and intense longing and sadness, and then you don't hear it again until Mrs Mulwray appears on the scene.


Goldsmith wrote the score in ten days as a last minute replacement for the rejected score. I think it's one of his masterworks. Only thirty minutes of music in the entire movie. The way it SHOULD be done.


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## JonS

robgb said:


> Goldsmith wrote the score in ten days as a last minute replacement for the rejected score. I think it's one of his masterworks. Only thirty minutes of music in the entire movie. The way it SHOULD be done.


That’s mind boggling!


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## robgb

JonS said:


> That’s mind boggling!


It's a remarkable score. Very minimalistic for the most part, playing on the same single theme over and over when necessary, but he comes up with so many inventive ways to utilize it. And the music only kicks in when it has something to contribute to the emotion of the story.


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## JonS

It's so much easier to appreciate a good score when they don't demand wall to wall music, which just causes fatigue for the audience. Jerry was such a wonderful person and brilliant composer. He is definitely one of my major influences.


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## dcoscina




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## stixman

One of my hobbies is collecting vinyl, there are only 2 other composers who I have collected more records and that’s saying something!

Is there a better composer!

So far,

Star Trek The Motion Picture

The Omen

Alien

Alien Complete Original Picture Soundtrack

Planet of the Apes

Legend X2

Logans Run

Edit: In Like Flint


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## PuerAzaelis




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## Beans

PuerAzaelis said:


>




I've always appreciated this one for the horns peaking for only a brief moment around 2:58 - 3:02. Today, with VIs, it would be tempting to keep that modwheel up for longer than necessary.

I love some good restraint.


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## PuerAzaelis

Yes I know what you mean


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## PedroPH

There is no better composer. I'm also a fan of the _Total Recall_ titles. I watched a lot of movies in the 90s. That's how I discovered him. He composed lots of great scores then

_The Mummy
First Knight
L.A. Confidential
The Shadow
The Edge
Air Force One
The River Wild
Congo
Medicine Man_

I also like his classics: _The Omen, Hoosiers, Under Fire._


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## stixman

I just pre-ordered this








Total Recall: 30th Anniversary Edition (3XLP) - Quartet Records


Total Recall: 30th Anniversary Edition (3XLP) in Quartet Records



www.quartetrecords.com


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## Vincent Martin

I'm also a fan of Total Recall titles.
I'm impressed by the number of really great soundtracks in very diverse genres he wrote.


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## I like music

By far my favourite musician of any kind ever. Too many good things to list here.

Makes me sad how many film score lovers don't really know of him.


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## lux

The whole Poltergeist and expecially its lovely pastoral theme has always been my istinctive JG favourite.


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## dcoscina

lux said:


> The whole Poltergeist and expecially its lovely pastoral theme has always been my istinctive JG favourite.



Given the level of writing Goldsmith did for this score and Spielberg's Kick the Can segment from Twilight Zone the Movie, I'm convinced Jerry would have wrote some outstanding music for more of Spielberg's films. I can only imagine what a Goldsmith War of the Worlds would have sounded like.


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## I like music

Love how that ominous motif in The Omen is also a variation of the lush love theme (perhaps that theme is the variation).


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## robgb

dcoscina said:


>


This kind of reminds me of composers saying I have 500 tracks in my template. Honestly, you only need a few. Add when necessary.


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## robgb

I like music said:


> By far my favourite musician of any kind ever. Too many good things to list here.
> 
> Makes me sad how many film score lovers don't really know of him.


I read an article that was celebrating the CHINATOWN score, but the writer off-handedly says something like, "few of Goldsmith's scores were remarkable. Chinatown is the exception."

If I ever meet the guy I might have to punch him for such piggery.


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## I like music

robgb said:


> I read an article that was celebrating the CHINATOWN score, but the writer off-handedly says something like, "few of Goldsmith's scores were remarkable. Chinatown is the exception."
> 
> If I ever meet the guy I might have to punch him for such piggery.


Please, if you find the review again, let me know. I'll punch him on everyone's behalf!!!


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## dcoscina

robgb said:


> This kind of reminds me of composers saying I have 500 tracks in my template. Honestly, you only need a few. Add when necessary.


I honestly keep my mouth shut when people boast about having 500 tracks. When I studied music at uni back in the late 80s, we only had smaller ensembles at our disposal so we had to maximize our resources. I still write that way. 

To be honest, it seems like many of these 500 track examples aren't giving us the orchestral sophistication of Daphnis et Chloe or The Firebird, or Song of the Earth, so I guess it's a lot of doubling or layering or people who don't like KS patches... I dunno.. I've never hit more than 80 and most of the time it's well under 50. I do use KS however. 

I listened to the entire score to Poltergeist today and I notice that Goldsmith saves his big moments. There's a lot of interplay between solo instruments, like flute and bassoon. Or smaller groupings of instruments. Not only does it leave room for dialogue and sound FX, but it's uncluttered and still gets to say what it needs to. This was a trait that follows Goldsmith on many of his projects. 

Definitely a master of film scoring and music in general.


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## robgb

dcoscina said:


> I honestly keep my mouth shut when people boast about having 500 tracks. When I studied music at uni back in the late 80s, we only had smaller ensembles at our disposal so we had to maximize our resources. I still write that way.
> 
> To be honest, it seems like many of these 500 track examples aren't giving us the orchestral sophistication of Daphnis et Chloe or The Firebird, or Song of the Earth, so I guess it's a lot of doubling or layering or people who don't like KS patches... I dunno.. I've never hit more than 80 and most of the time it's well under 50. I do use KS however.


My average is about 20 tracks. I sometimes wonder if I'm doing something wrong...


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## I like music

I have about 100. But no library has a duplicate and it's one track per instrument. Count is high mainly because of the choirs + fact that I don't have ensemble patches.

I find the thought of a massive template daunting and superfluous, but then I'm a rank amateur.

Guessing goldsmith's initial jobs required him to write with like 10 musicians!


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## dcoscina

I like music said:


> I have about 100. But no library has a duplicate and it's one track per instrument. Count is high mainly because of the choirs + fact that I don't have ensemble patches.
> 
> I find the thought of a massive template daunting and superfluous, but then I'm a rank amateur.
> 
> Guessing goldsmith's initial jobs required him to write with like 10 musicians!


Planet of the Apes only used 59 musicians and it sounds amazing.


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## dcoscina

robgb said:


> My average is about 20 tracks. I sometimes wonder if I'm doing something wrong...


My composition prof in university said there really should be 3 to 4 independent ideas happening at once in a piece.


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## robgb

dcoscina said:


> My composition prof in university said there really should be 3 to 4 independent ideas happening at once in a piece.


That sounds about right.


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## dcoscina

robgb said:


> That sounds about right.


When we analyzed Beethoven or Bach or whomever, really there were no more than 3 central ideas happening at any given time. everything else was doubling, ornaments or whatever.


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## Consona

Blazing Total Recall through my headphones. What a fricking riot.






Makes me irked again we can't get anything even close to this these days. Eh... Starts to irritate me there's no way out of that.


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## JonS

dcoscina said:


> I honestly keep my mouth shut when people boast about having 500 tracks. When I studied music at uni back in the late 80s, we only had smaller ensembles at our disposal so we had to maximize our resources. I still write that way.
> 
> To be honest, it seems like many of these 500 track examples aren't giving us the orchestral sophistication of Daphnis et Chloe or The Firebird, or Song of the Earth, so I guess it's a lot of doubling or layering or people who don't like KS patches... I dunno.. I've never hit more than 80 and most of the time it's well under 50. I do use KS however.
> 
> I listened to the entire score to Poltergeist today and I notice that Goldsmith saves his big moments. There's a lot of interplay between solo instruments, like flute and bassoon. Or smaller groupings of instruments. Not only does it leave room for dialogue and sound FX, but it's uncluttered and still gets to say what it needs to. This was a trait that follows Goldsmith on many of his projects.
> 
> Definitely a master of film scoring and music in general.


Those who aren’t masters just resort to the wall of sound approach to hide their misgivings. You can’t blame someone for not being Beethoven or Strauss.


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## dcoscina

Consona said:


> Blazing Total Recall through my headphones. What a fricking riot.
> 
> 
> 
> 
> 
> 
> Makes me irked again we can't get anything even close to this these days. Eh... Starts to irritate me there's no way out of that.



Do you think it’s because filmmakers don’t want this sound or that composers do not know how to write like this (Bartok influenced cue I this case)? I have my own opinion but I’d like to hear other people’s


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## ed buller

dcoscina said:


> Do you think it’s because filmmakers don’t want this sound or that composers do not know how to write like this (Bartok influenced cue I this case)? I have my own opinion but I’d like to hear other people’s



It's a bit of both. Goldsmith was highly trained . He wanted to write music as good as Mahler or Bartok. A lot of modern film composer are just chasing a temp and trying to keep someone happy. It really is impossible to make a judgement about a film score these days being an indicator of a composer's talent if he's under constraints to write the crap we might be hearing......this did occasionally happen to Jerry too !

He had his cliches...but they where good cliches. For the most part i think he belonged to a different time. He and his brethren where given a lot more free rein . And the directors and music editors weren't listening to dance music !

best

e


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## tjr

Not immensely popular, and intentionally derivative, but I rather enjoy his score for "I.Q."


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## dcoscina

ed buller said:


> It's a bit of both. Goldsmith was highly trained . He wanted to write music as good as Mahler or Bartok. A lot of modern film composer are just chasing a temp and trying to keep someone happy. It really is impossible to make a judgement about a film score these days being an indicator of a composer's talent if he's under constraints to write the crap we might be hearing......this did occasionally happen to Jerry too !
> 
> He had his cliches...but they where good cliches. For the most part i think he belonged to a different time. He and his brethren where given a lot more free rein . And the directors and music editors weren't listening to dance music !
> 
> best
> 
> e


That’s my take on it too, for the most part.


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## dcoscina

Consona said:


> Blazing Total Recall through my headphones. What a fricking riot.
> 
> 
> 
> 
> 
> 
> Makes me irked again we can't get anything even close to this these days. Eh... Starts to irritate me there's no way out of that.



I recall (pun intended) the Creative Cribs Spitfire interview with Anne Dudley where She mentioned working with Verhoeven on a film and said it was a delight because he liked the old way of working; listening to the composers ideas just played on piano.

So this does have a lot to do with how the filmmakers are dictating the quality of the writing...sadly.


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## Consona

dcoscina said:


> Do you think it’s because filmmakers don’t want this sound or that composers do not know how to write like this (Bartok influenced cue I this case)? I have my own opinion but I’d like to hear other people’s


Maybe Mr. Jerry has a word or two about it himself.  




IMO
@ed buller summed it nicely.

Noone today in the high bussiness, except for Williams, can write something like that. I think there are some people who could if they studied his stuff and really tried, maybe not 100% Goldsmith but somewhat close, but they are not working on the huge films, (Verta, McNeely, Debney, Broughton, Shaiman, I bet some others as well).
But for some reason, we are stucked with people like Giacchino, Zimmer's acolytes, etc. Even Zimmer himself has never composed anything like that Totall Recall piece I posted yesterday, as far as I know.

And yes, I don't think directors even know what they are missing. Seems like for them, music is just music, there are barely any degrees of skill and quality as far as they can discern. There are exceptions, like Seth MacFarlane, but he's not the one making big blockbusters (I wish he inherited Star Trek instead of those JJ Abrams' clowns.).

And the audiences definitely not, when they can endure and even celebrate glorified overly loud and irritatingly ever-repeating sound-design like Tenet and even call it "film music".

Goldsmith lived in the era when people where influenced by classical music and jazz. Today people listen to girl-stars pop, hip hop, noisy electronic wruum wruum stuff and other musically very poor stuff. The difference shows. A lot!!!

The worst thing is, even if you could compose like fricking Goldsmith, noone would care!!!
That's how fucked up the situation is. Only us, music nerds who actually appreciate the music craft and abilities drool over awesome music.
It's the other way around. Once people hear something resembling the most trite embarrassing trailer composing drivel, they are ecstatic. I see this trend everywhere, there are some low budget medieval or fantasy games or short films, but be sure as hell they have trailers full of braaams and loud damage percussion and nothing that resembles their own product.

Soon people will demand this idiotic nonsense in even Star Wars movies I can imagine.
I haven't seen Tenet but I will since Nolan is one of my faves, but after Mission Impossible Fallout, I'm so discouraged to go visit these film, since all I get from the music is boring/cringy composing and continuous eardrum assault I'm becoming too old to endure (I was literally covering my ears during some MI Fallout scenes, when a guy running across a roof is underscored like the whole world is ending in one huge universe-wide cataclysm full fortississimo +100dB LUFS).

Fck it.


Let's celebrate Jerry Goldsmith's incredible music instead.


What a masterpiece.


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## nolotrippen

I wouldn't say we're "stuck" with Giacchino. He's one of my current favorites.


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## Consona

He actually inherited some franchises right from Goldsmith. And none of his music was even close to the Jerry's stuff. Rather sorry to say, some of that music was quite horrible.
I'll never forget the utter pratfall of the Star Trek Into Darkness finale, the music was so bad I could have written that. 

I give him that he at least tries to be some pseudo-old-schoolish guy. It's cringy when one can't really do it, but at least he tries.


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## dcoscina

This is a very complex subject for sure. Even in Jerry’s time not all composers write like him but they were still great (like John Barry). I actually like that HZ is doing his own thing. Do I wish there was more
Stylistic variety in film scores today like there was 30-40 years ago? Yes. Will I get it? No. What’s my recourse? Listen to scores from 30-40 years ago but keep my eye out for someone in the modern age who can write like that.

I’d say John Powell is one of the few modern composers who is smart, has an artistic aesthetic and is genuinely talented. There are others to be sure. But they don’t seem to get as much work as others do..Teddy Shapiro is also fantastically skilled and talented. Gabriel Yared, in spite of Hollywood running him out after the Troy debacle in 2003, is still producing amazing scores in Europe. So it’s not as bleak as we may make it out. We just don’t necessarily have the blockbuster fare scored the way it was when we were younger (and which probably inspired most of us to become composers ourselves as a result).


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## cloudbuster

Not his greatest musical achievement ever but what would this movie be without JG's imprint?


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## JonS

dcoscina said:


> This is a very complex subject for sure. Even in Jerry’s time not all composers write like him but they were still great (like John Barry). I actually like that HZ is doing his own thing. Do I wish there was more
> Stylistic variety in film scores today like there was 30-40 years ago? Yes. Will I get it? No. What’s my recourse? Listen to scores from 30-40 years ago but keep my eye out for someone in the modern age who can write like that.
> 
> I’d say John Powell is one of the few modern composers who is smart, has an artistic aesthetic and is genuinely talented. There are others to be sure. But they don’t seem to get as much work as others do..Teddy Shapiro is also fantastically skilled and talented. Gabriel Yared, in spite of Hollywood running him out after the Troy debacle in 2003, is still producing amazing scores in Europe. So it’s not as bleak as we may make it out. We just don’t necessarily have the blockbuster fare scored the way it was when we were younger (and which probably inspired most of us to become composers ourselves as a result).


“Yared himself is no stranger to having his work rejected – after winning the Oscar for The English Patient in 1996, he found himself having his work on both The Wings of the Dove and Les Misérables thrown out (they were re-scored by Ed Shearmur and Basil Poledouris respectively). In the last few years, Alan Silvestri wrote a rejected score for Pirates of the Caribbean, Craig Armstrong was thrown of Tomb Raider II, Jerry Goldsmith chose not to re-score Timeline for a third time, and as I write this Terence Blanchard has just been replaced by Ramin Djawadi on Blade Trinity. He is not alone.”



Redirect Notice


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## Michael Antrum

I think it's also been said that the way modern movies are made does not lend itself to the kind scoring that Goldsmith produced. The fact is, movies used to be givien to a composer with a locked picture, and modern technology means that directors are arsing about with the cut, sometimes up to the last minute. Who can blame composers working in a modular fashion with continuous last minute edits happening.

BTW, IMO James Newton Howard is right up there amongt the best.


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## Consona

dcoscina said:


> Listen to scores from 30-40 years ago but keep my eye out for someone in the modern age who can write like that.


Is there any other way? 



dcoscina said:


> I’d say John Powell is one of the few modern composers who is smart, has an artistic aesthetic and is genuinely talented.


...Because Star Wars soundtracks need more drums.  Powell is okay, but he's no Goldsmith or Williams.

I think people like John Debney can write way better old-school-ish music. He has more of that old-school fluency, agility and harmonic depth in his pieces than those others contemporary composers.

Just the other day I was listening to Debney's Predators vs Henry Jackman's The Predator. What a world of difference. Jackman's score was so clumsy, while Debney's pieces so sensational.

It's like Giacchino vs Goldsmith and Horner in Star Trek. You very soon recognize who's trying to sound classical and who's actually writing music in that classical manner.



dcoscina said:


> So it’s not as bleak as we may make it out. We just don’t necessarily have the blockbuster fare scored the way it was when we were younger (and which probably inspired most of us to become composers ourselves as a result).


Yea, some really good guys still work, but I'd love to hear them doing all those huge movies. Those Star Treks, Star Wars, Mission Impossibles, Apes, Nolan's films, etc.

Where the fck is Elliot Goldenthal??? and guys like him? We need those to score blockbusters again.



Michael Antrum said:


> I think it's also been said that the way modern movies are made does not lend itself to the kind scoring that Goldsmith produced. The fact is, movies used to be givien to a composer with a locked picture, and modern technology means that directors are arsing about with the cut, sometimes up to the last minute. Who can blame composers working in a modular fashion with continuous last minute edits happening.


There of course could lie a hefty chunk of the problem.

But still, once you are on a certain level, you know your tricks and stuff. The overall structure will suffer but you can still score a scene in a respectable manner.



Michael Antrum said:


> BTW, IMO James Newton Howard is right up there amongt the best.


I need to listen to his stuff more to make up my mind.
After some critic said he wrote better Williams music than Williams in Fantastic Beasts and Where to Find Them, I gave it a listen... some people should stop doing so much crack.






Man, imagine Williams conducting your music. Which means he had to read all the stuff you wrote.
That's some nightmare OCD fuel, "imagine Williams' reading stuff you just wrote"...


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## PedroPH

nolotrippen said:


> I wouldn't say we're "stuck" with Giacchino. He's one of my current favorites.



I agree. If there is one composer among the younger ones that can compare to John Williams or Jerry Goldsmith, I think it's Giacchino. His score for "Up!" is great.


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## dcoscina

@Consona I’m trying to be somewhat diplomatic as this forum is visited by several film composers actively working today. I think it’s best that I just say I prefer listening to mid 20th century orchestral repertoire or classic film scores because they inspire me more than what’s offered today and leave it at that. Pure subjective opinion here no proclamations (besides, I'm a nobody anyhow, so who really cares what I have to say on the matter?).

this was what I've been listening to this past week. Also not seen is Bartok (The Wooden Prince, Miraculous Mandarin), Prokofiev (Cantata on the 40th Anniversary..., Symphony 3 "The Fiery Angel"), Goldsmith (Poltergeist, The Omen, Legend), Williams (Dracula), and John Scott's Greystoke (1984)






One of my regrets was not appreciating Varese when I was a composition student in the late 80s. My prof, James Tenney, unbeknownst to me at the time, had been a student of Varese and his ideas of sound and music perception were, in retrospect, fascinating. As a dumb 20 year old, I couldn't get into that... it wouldn't be until I was studying philosophy later on that all of those principles resounded with me. And I missed the opportunity to discuss some of these ideas with him. Shame.... I also have been able to listen to Tenney's work and I find them fascinating.


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## dcoscina

cloudbuster said:


> Not his greatest musical achievement ever but what would this movie be without JG's imprint?



It's a fair bit better than most thrillers were scored in that era. It might not be virtuosic but not every film demands that kind of overt writing.


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## Satorious

There are so many crappy movies with great scores! Basic Instinct is my personal favourite Goldsmith (I have a soft spot for Omen 3: The Final Conflict also) - so I think you are doing it a disservice by claiming it not to be one of his finer scores. It got an Oscar nomination if I recall correctly? This and John Barry's Body Heat are the "sultry thriller" scores to beat...


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## Consona

PedroPH said:


> I agree. If there is one composer among the younger ones that can compare to John Williams or Jerry Goldsmith, I think it's Giacchino. His score for "Up!" is great.


Just a reminder, this is the travesty (sorry, I can't find a better fitting word) we got as a finale for a Star Trek film:


A clumsy in parts quasi-random cringe-fest. The worst part is when he tries to do those old-school modulations and harmonies and it all sounds like the strings section has just arrived from a Death Valley concert trip trying to tune their unglued warped intruments up, while brassists got their gears trampled over by a herd of elephants.

And this is what we got back then:


A fricking 8 minutes long coherent orchestral masterpiece.
Do you hear how solid and precise all those wild runs, harmonies and modulations are even when the piece is turbulent?


The difference is so vast it's unbelievable. I like Giacchino's themes, but the compositions, uh oh. (Maybe it was not scored to a locked picture, but even then, why can't there be just 10 seconds that are not awkward?)

How many action pieces in the last fricking 40 years were as well composed as what Horner made in his late 20s? Safe for some Williams and Goldsmith stuff...

We have sooo many huge action movies these days, none has even a minute of comparable music.
It's all brash, loud, Wonder Woman has a kick-ass rocktune theme, but where's the jaw-dropping composition? Under all that drum barrage? I don't think so. (I love huge drums mixed by Alan Meyerson, don't get me wrong here.) (I also like some Gregson-Williams themes.) Oh, sorry, I forgot, It's forbidden now, because anything virtuosic sounds dated today. 
Where's Silverstri's 80s composing? He scored all those huge record breaking Avengers with all those huge action scenes, where's the 8 minute orchestral awesomeness? Back to the Future and Predator sure as hell had some sweet passages.
Howard Shore had some great pieces in Lord of the Rings, but his scores are rather textural than vividly Wrath of Khan-ish.
I fcking love Zimmer's Man of Steel. But let's not compare that with classical orchestral amaze-fests.

40 years, guys! That's quite a lot of time. Where's the next Mutara Nebule piece?

Feel free to post it here. I'll gladly listen to some virtuosically composed music.



dcoscina said:


> @Consona I’m trying to be somewhat diplomatic as this forum is visited by several film composers actively working today.


Yep, they can listen to that Horner piece and join our comparable pieces competition with their music.

Or they can say I'm talking crap and I should shut up. They only make what they do because I don't understand anything.

I don't dislike those guys. I wish them all the talent, skill and luck so I can have some awesome music in films. Again...


If I was composing for as long as it takes me to write these rants, I'd be the next Horner already.


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## JonS

Consona said:


> Just a reminder, this is the travesty (sorry, I can't find a better fitting word) we got as a finale for a Star Trek film:
> 
> 
> A clumsy in parts quasi-random cringe-fest. The worst part is when he tries to do those old-school modulations and harmonies and it all sounds like the strings section has just arrived from a Death Valley concert trip trying to tune their unglued warped intruments up, while brassists got their gears trampled over by a herd of elephants.
> 
> And this is what we got back then:
> 
> 
> A fricking 8 minutes long coherent orchestral masterpiece.
> Do you hear how solid and precise all those wild runs, harmonies and modulations are even when the piece is turbulent?
> 
> 
> The difference is so vast it's unbelievable. I like Giacchino's themes, but the compositions, uh oh. (Maybe it was not scored to a locked picture, but even then, why can't there be just 10 seconds that are not awkward?)
> 
> How many action pieces in the last fricking 40 years were as well composed as what Horner made in his late 20s? Safe for some Williams and Goldsmith stuff...
> 
> We have sooo many huge action movies these days, none has even a minute of comparable music.
> It's all brash, loud, Wonder Woman has a kick-ass rocktune theme, but where's the jaw-dropping composition? Under all that drum barrage? I don't think so. (I love huge drums mixed by Alan Meyerson, don't get me wrong here.) (I also like some Gregson-Williams themes.) Oh, sorry, I forgot, It's forbidden now, because anything virtuosic sounds dated today.
> Where's Silverstri's 80s composing? He scored all those huge record breaking Avengers with all those huge action scenes, where's the 8 minute orchestral awesomeness? Back to the Future and Predator sure as hell had some sweet passages.
> Howard Shore had some great pieces in Lord of the Rings, but his scores are rather textural than vividly Wrath of Khan-ish.
> I fcking love Zimmer's Man of Steel. But let's not compare that with classical orchestral amaze-fests.
> 
> 40 years, guys! That's quite a lot of time. Where's the next Mutara Nebule piece?
> 
> Feel free to post it here. I'll gladly listen to some virtuosically composed music.
> 
> 
> Yep, they can listen to that Horner piece and join our comparable pieces competition with their music.
> 
> Or they can say I'm talking crap and I should shut up. They only make what they do because I don't understand anything.
> 
> I don't dislike those guys. I wish them all the talent, skill and luck so I can have some awesome music in films. Again...
> 
> 
> If I was composing for as long as it takes me to write these rants, I'd be the next Horner already.



If you listen carefully you will hear a lot of Jerry Goldsmith in a James Horner score. Horner was clearly very influenced by Goldsmith.


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## Consona

JonS said:


> If you listen carefully you will hear a lot of Jerry Goldsmith in a James Horner score. Horner was clearly very influenced by Goldsmith.


I don't dispute that.
(Horner fcking stole stuff, man. :D)

Giacchino got some ideas from the old Star Treks as well. But applied them to quite a different level of success.


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## Michael Antrum

Consona said:


> I don't dispute that.
> (Horner fcking stole stuff, man. :D)
> 
> Giacchino got some ideas from the old Star Treks as well. But applied them to quite a different level of success.



Horner, was, 'influenced', by quite a lot of composers....

My favourite, though, and I'm not quite sure why, is the Rocketeer.


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## Consona

Michael Antrum said:


> Horner, was, 'influenced', by quite a lot of composers....
> 
> My favourite, though, and I'm not quite sure why, is the Rocketeer.


That's one of the scores I haven't listened to so far. A lot people like it, I should check it out soon.

I was mainly listening to his Battle Beyond the Stars, Krull, Khan and Spock. They are rather identical. :D He was using so similar ideas and passages. But the Star Trek ones are the best.

But listen to this, he made that even before Star Trek:


You can totally hear Goldsmith there, and Horner's later Star Treks, but still, what a great piece of music.


----------



## Consona

I love being not even 30 seconds into a piece, having my mind blown pondering what the heck is going on.

So simple yet so smartly done.


----------



## Farkle

Brad and I did a livestream on his FilmScoreAnalysis channel last week, and I asked him to play cuts from the 1976 Jerry score to "The Omen". Suffice it to say, the young(er) composers listening on the channel were stunned at the awesome, spine-tingling, menace of that score. And, we also figured out that Jerry used a motivic transformation of "Dies Irae" as the ostinato in the bass of "Ave Satani", as well as ostinatos in other cues.

It's great to see the next generation start to understand how unbelievably impressive Jerry was.


----------



## dcoscina

This has some great quiet kinetic momentum.


----------



## ed buller

I have to say, to me it's how much Jerry knew about music. He had his habits and tricks. And yes they were milked heavily over the years but they worked. He got DRAMA and how to tell it. And ( again like JW ) really grasped the import of intervallic restrictions. How limited harmony can say so much. He was ( again like JW ) blessed with an ability to not linger on an idea too long. Perhaps he would be more repetitive ( JW doesn't repeat longer more the twice, third time it always changes )but he would develop. There would be the almost effortless B Part...Air Force One, Star Trek....again using fav tricks...up by a minor third....His fav Tension Climb...A2 E3.... C3Sharp..G3Sharp....F3..C4........

He also stole from the best:




e


----------



## Consona

Farkle said:


> Brad and I did a livestream on his FilmScoreAnalysis channel last week, and I asked him to play cuts from the 1976 Jerry score to "The Omen". Suffice it to say, the young(er) composers listening on the channel were stunned at the awesome, spine-tingling, menace of that score. And, we also figured out that Jerry used a motivic transformation of "Dies Irae" as the ostinato in the bass of "Ave Satani", as well as ostinatos in other cues.
> 
> It's great to see the next generation start to understand how unbelievably impressive Jerry was.


Where's the video? 



dcoscina said:


> This has some great quiet kinetic momentum.



Why did he over-score it so much? Should have used 1 synth arp and put a brick on the keyboard for 3 minutes.



ed buller said:


> I have to say, to me it's how much Jerry knew about music. He had his habits and tricks. And yes they were milked heavily over the years but they worked. He got DRAMA and how to tell it. And ( again like JW ) really grasped the import of intervallic restrictions. How limited harmony can say so much. He was ( again like JW ) blessed with an ability to not linger on an idea too long. Perhaps he would be more repetitive ( JW doesn't repeat longer more the twice, third time it always changes )but he would develop. There would be the almost effortless B Part...Air Force One, Star Trek....again using fav tricks...up by a minor third....His fav Tension Climb...A2 E3.... C3Sharp..G3Sharp....F3..C4........
> 
> He also stole from the best:
> 
> 
> 
> 
> e



Yep, where are those times film composers were inspired or stealing stuff from compositional masters instead of metal bands and dubstep producers. 

The thing I like about JW and JG (and Horner) is that non-lingering, especially how they were able to weave the pieces from section to section. Such a stark contrast to what we hear today, when the compositions are so stiff.

Like that 13th Warrior piece from yesterday, 30 seconds in and it did so many things while still being the same musical thing. 30 seconds today? The composer's merely barely copy/paste repeating his first riff just layering it with some high strings.

I've become so sensitive to this after listening more to that old-school music. I was listening to some superhero score lately and was literally thinking, when the fck will the music happen? Any moment now? All it was were literally 4 bar repetitions, over and over with some layering added. Ugh.
Then you put something like The Mountain or The Big Jump from Total Recall on and you are like, wow, ok, this is also how can dramatic music sound!

Even when his piece is quite simple he always puts something there to make it cool, have to learn his tricks.


----------



## Farkle

Consona said:


> Where's the video?



Gotta ask Brad, it's his Youtube feed. He might have it archived for later release. this is why you have to see us LIVE, baby! 

Mike


----------



## dcoscina

Consona said:


> Where's the video?
> 
> 
> Why did he over-score it so much? Should have used 1 synth arp and put a brick on the keyboard for 3 minutes.
> 
> 
> Yep, where are those times film composers were inspired or stealing stuff from compositional masters instead of metal bands and dubstep producers.
> 
> The thing I like about JW and JG (and Horner) is that non-lingering, especially how they were able to weave the pieces from section to section. Such a stark contrast to what we hear today, when the compositions are so stiff.
> 
> Like that 13th Warrior piece from yesterday, 30 seconds in and it did so many things while still being the same musical thing. 30 seconds today? The composer's merely barely copy/paste repeating his first riff just layering it with some high strings.
> 
> I've become so sensitive to this after listening more to that old-school music. I was listening to some superhero score lately and was literally thinking, when the fck will the music happen? Any moment now? All it was were literally 4 bar repetitions, over and over with some layering added. Ugh.
> Then you put something like The Mountain or The Big Jump from Total Recall on and you are like, wow, ok, this is also how can dramatic music sound!
> 
> Even when his piece is quite simple he always puts something there to make it cool, have to learn his tricks.



Sadly filmmakers and studios don’t think this kind of music is relevant any more. We are in the minority. 
I just started working on a Goldsmith inspired track today (Son of Rambo) in StudioOne which has meter changes every bar. 4/4, 7/8, 9/8, 5/4 2/4, etc. Given Jerry was a fan of Stravinsky, this isn’t surprising but most audiences don’t care about complex rhythmic figures or adding/subtracting beats. It’s mostly duple meters, vacuous ostinati with a theme that’s tacked on over it.


----------



## Consona

dcoscina said:


> Sadly filmmakers and studios don’t think this kind of music is relevant any more. We are in the minority.
> I just started working on a Goldsmith inspired track today (Son of Rambo) in StudioOne which has meter changes every bar. 4/4, 7/8, 9/8, 5/4 2/4, etc. Given Jerry was a fan of Stravinsky, this isn’t surprising but most audiences don’t care about complex rhythmic figures or adding/subtracting beats. It’s mostly duple meters, vacuous ostinati with a theme that’s tacked on over it.


What I meant was no work put into the transitions, phrases, no awesome modulations, reorchestrations and stuff.
Odd meters is another level atop of that.

Just listening to Gremlins, such top class jaw-dropping music.


----------



## Consona

Listening to Total Recall again.


----------



## Consona




----------



## I like music

Why aren't we all listening to this track right now?


----------



## Consona




----------



## South Thames

Consona said:


>



Such an awesome suite of the music for that film, but does leave one with pangs of regret for Goldsmith's overindulgence of his love for synthesisers in the 80s -- whilst I kind of appreciate perversity of the original, the Gremlins rag sounds so much better in his orchestral arrangement.


----------



## cygnusdei

PedroPH said:


> I agree. If there is one composer among the younger ones that can compare to John Williams or Jerry Goldsmith, I think it's Giacchino. His score for "Up!" is great.


I'm by no means familiar with his output, but if what you're saying is true he must have got a bum deal with Rogue One. Either the director consciously avoided a prominent score à la Star Wars on purpose, or Giacchino just wasn't on his game. There was nothing memorable about the soundtrack, in fact it was downright underwhelming.


----------



## Jish

3DC said:


> One of my all time favorite. Old style epic for badass heroes. The movie is also something. Apparently total production disaster still ended up as cult classic.


It's underrated for sure- have you ever heard the Graeme Revell rejected score? Very different from Jerry's (whom I prefer) but really there was some very interesting background score on that one. I still consider this trailer, though dated and of it's time, far more effective than most done today:


----------



## South Thames

> I'm by no means familiar with his output, but if what you're saying is true he must have got a bum deal with Rogue One. Either the director consciously avoided a prominent score à la Star Wars on purpose, or Giacchino just wasn't on his game. There was nothing memorable about the soundtrack, in fact it was downright underwhelming.



What's he saying is absolutely not true.

Giacchino is pretty adept at fairly light, more or less pastiche based stuff -- Incredibles, Up. When it comes to anything serious or dramatic he's pretty lame.


----------



## Consona

How have I never heard this score before?! :O


----------



## I like music

Consona said:


> How have I never heard this score before?! :O



Cos there's always another Goldsmith score, duh! 

The man was a melody machine (among other things). Have you heard the score from The Night Crossing?


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## ed buller

I like music said:


> Cos there's always another Goldsmith score, duh!
> 
> The man was a melody machine (among other things). Have you heard the score from The Night Crossing?


I play it almost every day. Such a great score

best

e


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## I like music

ed buller said:


> I play it almost every day. Such a great score
> 
> best
> 
> e



That texture at 2:11 and then that melody which follows. _That_ is the sound I personally think of when I think 'Hollywood' or 'cinematic' or 'epic'

Something about the second half of that melody and the way it ends, always gives me goosebumps. The rest is pretty damn good too!


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## ed buller

I like music said:


> That texture at 2:11 and then that melody which follows. _That_ is the sound I personally think of when I think 'Hollywood' or 'cinematic' or 'epic'
> 
> Something about the second half of that melody and the way it ends, always gives me goosebumps. The rest is pretty damn good too!


Thank Respighi : 

best

e


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## I like music

ed buller said:


> Thank Respighi :
> 
> best
> 
> e



Ah haha. I've been listening to both of these for years and yet never connected them!


----------



## South Thames

One of my favourite cues from Goldsmith's highly effective score for Sleeping With The Enemy - probably the best thing about that film:


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## dcoscina

Consona said:


> How have I never heard this score before?! :O



this score seriously kicks ass. And you know that Goldsmith's main theme is an odd metered, bitonal version of Strauss' Zarathrusta eh? Told to me by a close friend of Jerry's. I was floored when he illuminated this. Now I hear it but would never have caught it just by hearing it.


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## ed buller

dcoscina said:


> this score seriously kicks ass. And you know that Goldsmith's main theme is an odd metered, bitonal version of Strauss' Zarathrusta eh? Told to me by a close friend of Jerry's. I was floored when he illuminated this. Now I hear it but would never have caught it just by hearing it.


wow...makes total sense now !...he had such a mind 

best

e


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## I like music

dcoscina said:


> this score seriously kicks ass. And you know that Goldsmith's main theme is an odd metered, bitonal version of Strauss' Zarathrusta eh? Told to me by a close friend of Jerry's. I was floored when he illuminated this. Now I hear it but would never have caught it just by hearing it.


What does bitonal mean? I can guess but want to make sure I understand properly! Haven't heard this in a while so need to listen with a critical ear and whatever you meant, in mind! Thanks!


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## ed buller

I like music said:


> What does bitonal mean? I can guess but want to make sure I understand properly! Haven't heard this in a while so need to listen with a critical ear and whatever you meant, in mind! Thanks!


it's actually a pretty mis-used statement. But in this instant seems to work. Basically you have two distinct ideas in two separate keys . This is a good example:


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## I like music

ed buller said:


> it's actually a pretty mis-used statement. But in this instant seems to work. Basically you have two distinct ideas in two separate keys . This is a good example:


Ahhhh great, thank you! Very helpful


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## dcoscina

ed buller said:


> it's actually a pretty mis-used statement. But in this instant seems to work. Basically you have two distinct ideas in two separate keys . This is a good example:


In the strictest sense of the word, yes I agree. However, functionally, the way Goldsmith uses those slash chords, they are working in two different key centers. It's not Ives-like but it's more than a slash chord too... at least the way I hear its use in the Main Theme from Capricorn One.


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## ed buller

dcoscina said:


> In the strictest sense of the word, yes I agree. However, functionally, the way Goldsmith uses those slash chords, they are working in two different key centers. It's not Ives-like but it's more than a slash chord too... at least the way I hear its use in the Main Theme from Capricorn One.


yes I agree. It's much more instructive to see it that way

e


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## Consona




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## dcoscina

New Intrada Release of Goldsmith's rejected score to The Public Eye. Has a jazzy LA Confidential vibe to it.


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## kitekrazy

I am addicted to this.


----------



## I like music

kitekrazy said:


> I am addicted to this.



And so you should be. Might - MIGHT - just be the best TV theme ever.


----------



## Consona

dcoscina said:


> New Intrada Release of Goldsmith's rejected score to The Public Eye. Has a jazzy LA Confidential vibe to it.


Just a few hours ago I realized I've never seen LA Confidental. Should rectify that asap.


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## Consona

Hm, here's some older version.


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## I like music

Consona said:


>



Always had a knack for a memorable melody, he did.


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## dcoscina

I've gained a whole new appreciation for Poltergeist since last summer. The score is massively complex and expansive. It shows what Goldsmith would have written more of if he'd got the opportunity to work with Spielberg more often. I can only imagine a Goldsmith War of the Worlds... shivers....


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## robgb

I think because of many of the movies he was associated with, Goldsmith is often considered an "also-ran" when compared to John Williams. But, for my money, Goldsmith could write circles around Williams. This is not to take away from Williams's considerable talent, but Goldsmith was King, in my estimation.


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## dcoscina

robgb said:


> I think because of many of the movies he was associated with, Goldsmith is often considered an "also-ran" when compared to John Williams. But, for my money, Goldsmith could write circles around Williams. This is not to take away from Williams's considerable talent, but Goldsmith was King, in my estimation.


It seems that the general sentiment is Williams is a master technician. But Goldsmith was far more innovative in terms of instrumentation and scoring subtext


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## Consona

dcoscina said:


> I can only imagine a Goldsmith War of the Worlds... shivers....


Wooooow, that would have been a perfect fit!


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## I like music

Consona said:


> Wooooow, that would have been a perfect fit!


I would love to have seen a Goldsmith LOTR. That said, it is one of the few films where for me, it was absolutely perfect. The one film where the composer that did the job, absolutely smashed it out of the park.

Again though, I have always wondered how that would have gone. We'd have got some gorgeous stuff.


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## dcoscina

I like music said:


> I would love to have seen a Goldsmith LOTR. That said, it is one of the few films where for me, it was absolutely perfect. The one film where the composer that did the job, absolutely smashed it out of the park.
> 
> Again though, I have always wondered how that would have gone. We'd have got some gorgeous stuff.


I’d have loved to hear Wojciech Kilar who was originally rumoured to be up for the job. And Horner had also been considered too.


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## I like music

dcoscina said:


> I’d have loved to hear Wojciech Kilar who was originally rumoured to be up for the job. And Horner had also been considered too.


Horner was up for it? Hmmmm interesting. Love the guy, but I feel like LOTR would need a completely *different* palette, and there would be too many Hornerisms (no bad thing generally) for it to feel like a different/new world.

I don't know much about Wojciech Kilar (at all). Am I missing out?


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## dcoscina

I like music said:


> Horner was up for it? Hmmmm interesting. Love the guy, but I feel like LOTR would need a completely *different* palette, and there would be too many Hornerisms (no bad thing generally) for it to feel like a different/new world.
> 
> I don't know much about Wojciech Kilar (at all). Am I missing out?


The Prophecy cue from Shore has a couple spots that borrow heavily from a Kilar concert work. Likely Jackson tempted LOTR with Kilar because he wanted him to score it. Personally I would have preferred Kilar to Shore but that’s a moot point now anyhow.


----------



## I like music

dcoscina said:


> The Prophecy cue from Shore has a couple spots that borrow heavily from a Kilar concert work. Likely Jackson tempted LOTR with Kilar because he wanted him to score it. Personally I would have preferred Kilar to Shore but that’s a moot point now anyhow.


I shall go check it out, thanks!

Fun fact, my 5yo son likes "Ave Satani" from The Omen so much that he has on a few occasions, asked me to play it to him at bed time. That sounds like one of those internet-crock-of-shit stories, but I actually have film evidence of him requesting the blasted music for bedtime instead of a kids' story.


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## dcoscina

I like music said:


> I shall go check it out, thanks!
> 
> Fun fact, my 5yo son likes "Ave Satani" from The Omen so much that he has on a few occasions, asked me to play it to him at bed time. That sounds like one of those internet-crock-of-shit stories, but I actually have film evidence of him requesting the blasted music for bedtime instead of a kids' story.


Go to 12:09


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## I like music

dcoscina said:


> Go to 12:09



Hehehe. I hear it!


----------



## Consona

The orchestral part is so good.


----------



## ed buller

robgb said:


> I think because of many of the movies he was associated with, Goldsmith is often considered an "also-ran" when compared to John Williams. But, for my money, Goldsmith could write circles around Williams. This is not to take away from Williams's considerable talent, but Goldsmith was King, in my estimation.


it's weird......it's sorta a Lennon and McCartney thing sometimes...like we gotta choose. I think Jerry is much better at some things than Johnny and vice versa...I'm so grateful we have both. But i'll fight anyone who says Jerry's a firm second place !

best

e


----------



## I like music

ed buller said:


> it's weird......it's sorta a Lennon and McCartney thing sometimes...like we gotta choose. I think Jerry is much better at some things than Johnny and vice versa...I'm so grateful we have both. But i'll fight anyone who says Jerry's a firm second place !
> 
> best
> 
> e


Man's music clicks with me in a way that absolutely no other musician's ever has. It is hard to explain. It is like I was born to like his music.

I do worry that the new kids may not even know his name. To me, they're both as good as they come, so I don't put one above the other. I just have a preference for Goldsmith's stuff. Something very clean and direct about his music - it gets straight to the point in an unapologetic way, but still has tons of heart.. I can't explain, I don't have the musical chops or language to do so.


----------



## I like music

Random thought. Does Goldsmith use the oboe in a prominent melodic context more often than every other film composer? I often hear a clear statement of a melody done expressively and simply where the oboe is front-and-centre. Random like I said, because I don't associate the oboe with film composers that much.


----------



## dcoscina

I like music said:


> Random thought. Does Goldsmith use the oboe in a prominent melodic context more often than every other film composer? I often hear a clear statement of a melody done expressively and simply where the oboe is front-and-centre. Random like I said, because I don't associate the oboe with film composers that much.


His used English Horn prominently in Islands in the Stream. Double reed instruments figure into Papillon as well.


----------



## Hasen6

Surprised nobody's mentioned The Great Train Robbery yet. Also Outland is amazing.


----------



## Hasen6

What exactly is the effect here Jerry has used to create the kind of sound we can hear in both these tracks right at the beginning?





It's *extremely* effective. Also it's interesting that neither of these scores are the main theme in the OST, but were used in the actual movies as the opening theme.


----------



## Hasen6

To answer my own question it seems the instrument used at least in Alien is a Shanka.


----------



## Niah2

Hasen6 said:


> What exactly is the effect here Jerry has used to create the kind of sound we can hear in both these tracks right at the beginning?
> 
> 
> 
> 
> 
> It's *extremely* effective. Also it's interesting that neither of these scores are the main theme in the OST, but were used in the actual movies as the opening theme.



Well in the first seconds of the first example it seems to be a superball/friction mallett used on a gong with some possible effects.

The Alien example I've read somewhere that it was a musical conch shell used in combination with an echoplex.


----------



## Niah2

Another example of a superball/friction mallet used on a gong is the opening of E.T.



In this example it sounds more natural with no effects.


----------



## Niah2

Hasen6 said:


> To answer my own question it seems the instrument used at least in Alien is a Shanka.


oops didn't see this comment before posting. That's right.


----------



## Hasen6

Niah2 said:


> oops didn't see this comment before posting. That's right.


Could be a slightly different effect in the Outland opening as you say, even though it really feels quite similar.


----------



## I like music

Oh man, just listen to those strings bubbling away under the trumpets. I've got those 30-seconds on repeat basically. Doesn't get better than that.

EDIT: what would have been the recording/hall/equipment environment here? I love that you can hear a grittiness + it is ambient, yet there's that close-mic sort of detail too, so you kind of get a best-of-both-worlds.


----------



## Tilman

When I try to compare Jerry with John Williams, I tend to think about Jerrys music as being somehow more 'adult' than Williams'. I can't really explain and I want to say that I am a big fan of both! In a way, JW to me often sounds more like music for family&children, while Jerry has more roughness, balls, sexyness in many of his soundtracks - does anyone understand what I mean? :D

When I think about JW would have scored Total Recall, I would guess the whole movie would appear more playfull or 'harmless' in a way. But of course this is all very, very generally speaking...


----------



## dcoscina

Tilman said:


> When I try to compare Jerry with John Williams, I tend to think about Jerrys music as being somehow more 'adult' than Williams'. I can't really explain and I want to say that I am a big fan of both! In a way, JW to me often sounds more like music for family&children, while Jerry has more roughness, balls, sexyness in many of his soundtracks - does anyone understand what I mean? :D
> 
> When I think about JW would have scored Total Recall, I would guess the whole movie would appear more playfull or 'harmless' in a way. But of course this is all very, very generally speaking...


Goldsmith was more of a modernist and go get really vicious musically. I can’t imagine John Williams scoring Alien or Poltergeist. But conversely Williams just nailed it for scores like ESB, Superman, ET, CEOT3K, Raiders etc etc.


----------



## dcoscina

Superb video comparing Goldsmith with Williams by some serious industry heavyweights.


----------



## wilifordmusic

John Williams War of the Worlds. Made me think of Jerry.
Totally brutal use of the orchestra with hardly a synth in sight.

One of my favorites.

And I have always enjoyed both of them. Great composers that often rose above the level of the film they were presented with and wrote great scores.
And they wrote great scores for great movies as well.


----------



## Consona

This is just incredible.


----------



## nolotrippen

Niah2 said:


> Another example of a superball/friction mallet used on a gong is the opening of E.T.
> 
> 
> 
> In this example it sounds more natural with no effects.


----------



## Consona

Can't get over how beautiful this piece is. An incredible composition.


----------



## dcoscina

Consona said:


> Can't get over how beautiful this piece is. An incredible composition.



I like Rambo 3 better than Rambo 2. Of course, nothing beats First Blood but I like the sound of the orchestra better in 3 than 2.


----------



## Henu

Once again I've been drowning myself on the incredible Gremlins 2 soundtrack. As I was taking some references for a project, I tried to actually see if anyone has it published a conductor's score out of it but found absolutely nothing. Does anyone know if there are any plans/ talks to publish it?


----------



## ed buller

Henu said:


> Once again I've been drowning myself on the incredible Gremlins 2 soundtrack. As I was taking some references for a project, I tried to actually see if anyone has it published a conductor's score out of it but found absolutely nothing. Does anyone know if there are any plans/ talks to publish it?


yup

save your pennies !

best

e


----------



## ed buller

Sorry just realised it's GREMLINS...not GREMLINS2

apologies

best

e


----------



## I like music

ed buller said:


> Sorry just realised it's GREMLINS...not GREMLINS2
> 
> apologies
> 
> best
> 
> e


Apart from all the great stuff that's in the score, there's this beautiful melody (I can't remember what the melody relates to because I often listen to the OST but haven't seen the film in 25 years). Its one of those things that if another composer did it, I'd be singing their praises, but because Goldsmith did it, I'm kind of like "Well duh. Of course he did..."

He almost desensitised me to his own musical goodness if that makes sense.


----------



## ed buller

I like music said:


> He almost desensitised me to his own musical goodness if that makes sense.


Bizarrely it totally does !

e


----------



## I like music

There was just no one that did a 'lush hollywood melody' like this man:


----------



## I like music

He's been writing them absolutely all over the place:


----------



## I like music

Gentle reminder that he also wrote the best TV theme to ever hit our screens:


----------



## nolotrippen

I like music said:


> Gentle reminder that he also wrote the best TV theme to ever hit our screens:



Barnaby Jones? Man from UNCLE? Waltons?


----------



## I like music

nolotrippen said:


> Barnaby Jones? Man from UNCLE? Waltons?


2nd, 4th and 3rd in that order haha


----------



## chrissiddall

ed buller said:


> Sorry just realised it's GREMLINS...not GREMLINS2
> 
> apologies
> 
> best
> 
> e


Unlike "Aliens before Alien", I'm actually going in order with Gremlins lol. I'll get to Gremlins 2 in due course, don't worry! Started on Reel 1 today, but have a ton of concert prep work to do for Dec/Jan, so expect it will be out in mid-Q1 2023.


----------

