 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 10, 2014 - 9:34 AM
|
|
|
|
By: |
Tom Servo
(Member)
|
For those more versed in Goldsmith than I, is this worth it?
I never bothered with the original release, but I found the samples (or what I heard of them before the site refused to load anymore) to be infectiously fun (Boarding the Ship in particular). Is the rest of the score like that or am I due in for an hour of noodling, droning and/or wall of noise Goldsmith instead?
It's hard to answer this question. The frustration I always had with the previous soundtrack was that it was a lot of that noodling, droning and/or wall of noise Goldsmith, but it missed a lot of the personality that I remembered from the score in the movie, and what highlights it retained just made me miss what was missing even more. This release should be a more well rounded listen with those bits in the mix, from the film's eerie main titles to more statements of the infectious main theme.
All of that said, IMHO it's not top tier Goldsmith. It's an entertaining score (probably even more so if you like the movie like I do) but not a major work. Just consider that his second tier is better than most composers' first. If you like the samples you'll probably like it.
Certainly not top-tier, but it's a score that's grown on me over the years. It's propulsive and kinetic, with a tongue-in-cheek tone. A few tracks I really enjoy, but I am looking forward to hearing the full score. Of course, I'm that kind of Goldsmith fan that finds something to love in pretty much everything he composed!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jun 10, 2014 - 4:47 PM
|
|
|
|
By: |
MikeP
(Member)
|
For those more versed in Goldsmith than I, is this worth it?
I never bothered with the original release, but I found the samples (or what I heard of them before the site refused to load anymore) to be infectiously fun (Boarding the Ship in particular). Is the rest of the score like that or am I due in for an hour of noodling, droning and/or wall of noise Goldsmith instead?
It's hard to answer this question. The frustration I always had with the previous soundtrack was that it was a lot of that noodling, droning and/or wall of noise Goldsmith, but it missed a lot of the personality that I remembered from the score in the movie, and what highlights it retained just made me miss what was missing even more. This release should be a more well rounded listen with those bits in the mix, from the film's eerie main titles to more statements of the infectious main theme.
All of that said, IMHO it's not top tier Goldsmith. It's an entertaining score (probably even more so if you like the movie like I do) but not a major work. Just consider that his second tier is better than most composers' first. If you like the samples you'll probably like it.
Yes, exactly... it isn't in the same class as Alien, Patton, even Total Recall. But it is a big, fast, fun score. Not every score has to aim to be a timeless classic, this one serves the movie well. There's lots of solid Goldsmith suspense and action writing. It is good to see the movie and score get some love here... both have been unfairly (imho ) trashed over the years for being exactly what they set out to be - entertaining, not art.
I ordered this one immediately and intend to play it loud 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jun 10, 2014 - 6:37 PM
|
|
|
|
By: |
Tom Servo
(Member)
|
I hadn't listened to the score since it the movie came out. Listening to the clips, my opinion's more or less the same. The score's perfectly fine for the movie, but nothing to write home about.
Goldsmith was so inconsistent during the last decade of his career... it's amazing how he'd alternate genuinely great scores like First Knight, Mulan, The Mummy, The Edge with autopilot scores like Deep Rising, Sum of All Fears and Star Trek Nemesis.
Glad some of you guys are enthused about this, but I tend to think the initial reaction to these scores when they first came out is a more accurate assessment of their quality.
EDIT: Interesting to spot the precursor to Shinzon's theme in some of the clips.
Chris.
Well, if you'd been writing hundreds upon hundreds of scores for TV and film since the mid-50's, your output as a composer 40 years later might be just as inconsistent. I'll take Goldsmith from any year of his career over just about anyone else any day.
|
|
|
|
|
|
|
|
|
Posted: |
Jun 10, 2014 - 7:41 PM
|
|
|
|
By: |
dpsternan
(Member)
|
Chris, I agree. Certainly very happy that Intrada is releasing this, but I'll pass on this one. The score may work fantastically well within the confines of the film, but sometimes they don't hold up as well as separate listening experiences.
That said, I am looking forward to picking up the newly released Night Crossing CD. That one holds up well!
I hadn't listened to the score since it the movie came out. Listening to the clips, my opinion's more or less the same. The score's perfectly fine for the movie, but nothing to write home about.
Goldsmith was so inconsistent during the last decade of his career... it's amazing how he'd alternate genuinely great scores like First Knight, Mulan, The Mummy, The Edge with autopilot scores like Deep Rising, Sum of All Fears and Star Trek Nemesis.
Glad some of you guys are enthused about this, but I tend to think the initial reaction to these scores when they first came out is a more accurate assessment of their quality.
EDIT: Interesting to spot the precursor to Shinzon's theme in some of the clips.
Chris.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jun 11, 2014 - 1:48 AM
|
|
|
|
By: |
Francis
(Member)
|
Is it a masterpiece? probably not, but Goldsmith composed more Masterworks than any other composer, bar none!
Does it have to be a masterpiece? Not directed at you, but if you set the bar so high all you listen to is masterpieces, you are missing out on a lot of great scores and music in general IMO. And of course you are entitled to an opinion and question the score, but when you have people questioning why this should get expanded when the joy in this thread reflects such a demand, I wonder if musical knowledge or appreciation has anything to do with the criticism on display. I still chuckle when reading statements like "oh, the current climate is so bad that in comparison those Goldsmith 90s scores I once could care less for are now masterpieces". I'd say the current climate is even better as those scores are finally given their due and not frowned upon for not sounding like Star Trek TMP or The Blue Max, all can now co-exist without any elitist frowning.
I haven't played Deep Rising in a while, but ever since I saw this thread and intrada's announcement the theme as well as certain cues have been going through my mind for the last week or so. Which is what good film music is known to do.
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 11, 2014 - 2:04 AM
|
|
|
|
By: |
Amer Zahid
(Member)
|
Is it a masterpiece? probably not, but Goldsmith composed more Masterworks than any other composer, bar none!
Does it have to be a masterpiece? Not directed at you, but if you set the bar so high all you listen to is masterpieces, you are missing out on a lot of great scores and music in general IMO. And of course you are entitled to an opinion and question the score, but when you have people questioning why this should get expanded when the joy in this thread reflects such a demand, I wonder if musical knowledge or appreciation has anything to do with the criticism on display. I still chuckle when reading statements like "oh, the current climate is so bad that in comparison those Goldsmith 90s scores I once could care less for are now masterpieces". I'd say the current climate is even better as those scores are finally given their due and not frowned upon for not sounding like Star Trek TMP or The Blue Max, all can now co-exist without any elitist frowning.
I haven't played Deep Rising in a while, but ever since I saw this thread and intrada's announcement the theme as well as certain cues have been going through my mind for the last week or so. Which is what good film music is known to do.
I saw the movie very late around 2010 and was quite taken by the action cues in the score which I thought at first was just another run of the mill typical 90's Goldsmith's score. Later while visiting NYC I found a used copy from Academy records shop for a mere $9. To say the least the 30 minute album failed to grab me like it did in the film. So, in a way I have been anticipating a full release in the recent weather. So glad to hear its finally. In comparison to what junk is being dished out in most scores today-I feel relatively easily to dive back to Jerry Goldsmith auto mode scores of the 90's. Infact Ill take any of the cheesy 90's scores over what is being served today.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jun 11, 2014 - 2:30 AM
|
|
|
|
By: |
bondo321
(Member)
|
Jerry on "autopilot" simply means it's not one of his groundbreaking scores (First Knight, Mulan, The 13th Warrior, etc). For example, if you listen to, say, Star Trek: Insurrection, US Marshals, Along Came a Spider, and Executive Decision, you can tell they're all VERY similar. DEEP RISING is a terrific score, but in the Goldsmith realm, it didn't break any new ground.
|
|
|
|
|
|
|
|
|
Posted: |
Jun 11, 2014 - 5:09 AM
|
|
|
|
By: |
Spymaster
(Member)
|
Jerry on "autopilot" simply means it's not one of his groundbreaking scores (First Knight, Mulan, The 13th Warrior, etc). For example, if you listen to, say, Star Trek: Insurrection, US Marshals, Along Came a Spider, and Executive Decision, you can tell they're all VERY similar. DEEP RISING is a terrific score, but in the Goldsmith realm, it didn't break any new ground.
There's a difference between writing a non-groundbreaking score and being on autopilot. I would question whether ANY artist operates on autopilot. It's simply not in an artist's nature.
The fact that Insurrection and US Marshalls share a similar action motif simply means that Goldsmith was playing with that idea at the time - just as The Boys From Brazil and Night Crossing share a similar waltz - or as Twilight Zone: The Movie and Gremlins share similar scratching violin passages - or that the action material in Innerspace is speeded-up Outland!
Writing VERY similar stuff suggest that John Barry was on auto-pilot since about 1980, or that Elmer Bernstein was on auto-pilot every time he used the ondes martenot, or that Hans Zimmer is on auto-pilot every time he writes a new power-anthem!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
