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Jerry's DEEP RISING score reminded me of Alan Parsons at times. Of course, I just ordered the new edition.
The film has one of the best closing scenes and lines in cinema history. 
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Posted: |
Jun 11, 2014 - 7:32 AM
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By: |
Spymaster
(Member)
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I would add that Jerry Goldsmith (or anyone) on "autopilot" just means that some of us may perceive - rightly or wrongly - a certain tiredness in the ideas, as if he weren't at all inspired by the material. That's hardly surprising given the working conditions and the quality of many of the films. So whereas an artist at the peak of his powers may write incredible work for drivel, an old hand who has been through it a million times before might think, "Let's get this over with, it'll pay the month's bills".
There's also a common misconception that less "busy" music = less "inspired" music. People tend to forget that the whole soundscape of a modern motion picture is very different to that of the 50s, 60s and 70s. Music is no longer required to fill empty space on the soundtrack, nor is it required to compensate for dull editing (if anything, editing it way TOO kinetic these days - to the point where it makes sense for the music to go in the opposite direction).
It could be argued that it takes a good composer to conjure up the perfect emotion in 10 notes. It takes a *genius* composer to do it in 2 notes!
DEEP RISING has some bloody great stuff in it and, due to its typically unique orchestration (powerful, full on brass, pounding/spinning percussion, distinctive synths), sounds quite unlike anything else Goldsmith wrote!
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My Expanded-reissue Goldsmith wishlist from Intrada or La La Land...
5) THE RIVER WILD -could be La La Land-The Archival Collection
6) THE MUMMY -La La Land- The Archival Collection...
La-La Land's "Archival Collection" are all scores originally released on Warner Bros.-owned labels. However, THE RIVER WILD was released by RCA (owned by Sony), so could possibly be released by LLL, but the release wouldn't be marketed as an "Archival Collection" title. THE MUMMY was originally released by Decca, who are owned by Universal Music Group (UMG). Intrada have been dealing with UMG, so they are more likely to release THE MUMMY. At least, as far as I understand it.
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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!
Never noticed that about Innerspace, but I always assumed that Gremlins using a bit of TZ: The Movie as the basis of its theme was intentional.
That U.S. Marshals thing drove me crazy, and still kinda does. He figured out a way to put that in most everything toward the end there.
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Posted: |
Jun 16, 2014 - 11:39 AM
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By: |
AlexCope
(Member)
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Shaun, the only thing more repetitive than Goldsmith's use of the U.S. Marshals theme is your endless complaining about it! Let it go, man! Let it go! In fact, whenever you find it bothering you again, just sing to yourself, to the tune of U.S. Marshals: "Let it-- let it go-oooh!" But seriously, yeah, Goldsmith just wouldn't let that damn thing go. It was best served in U.S. Marshals, where it at least seemed to belong to the movie, but then it just became an average action motif in almost everything afterward.
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Oh, and as for Deep Rising, it has some absolutely exhilarating action music in it, moments where Goldsmith just works the music up to an absolute frenzy, E-Ride especially. It's not a masterpiece, but it's not to be missed.
I'll never let it go, Alex.
I haven't listened to the album for Deep Rising in forever (outside of "Leila's Gone" and the last track), but I remember really liking little fun bits in that 6-minute cue.
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I never liked the original Hollywood Records album but the Intrada release is fantastic. It`s almost like a different score. Although I an a huge Goldsmith fan, I will never understand why he selected rather "bland" material for those 30-40 minute albums (especially CONGO, THE SHADOW and FIRST KNIGHT) while omitting some of the more exciting stuff. Those complete editions are a true revelation. Now I even enjoy DENNIS THE MENACE 
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This score is very good indeed.
And can only be appreciated in its complete form - as all scores.
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This score is very good indeed.
And can only be appreciated in its complete for.
It's indeed a good, still need to buy the expanded version. But apparently I can't appreciate this score, cause so far I've only heard the original release. Weird.
- as all scores.
There are plenty of Brian Tyler scores I'd appreciate a whole lot more if they had a shorter release
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Posted: |
Jun 25, 2014 - 11:59 PM
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By: |
SchiffyM
(Member)
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Having read the enthusiasm here, I was excited to receive this CD (I own the original CD, but honestly couldn't remember a note of it). Obviously, I don't begrudge anybody loving this, but I have to say I completely miss the appeal of it. I've listened twice now, and to my ears, it's incredibly generic, with nothing of any interest to grab onto. It's very familiar territory for this era Goldsmith, with explosions of a very simple (and not-very-interesting) brass motif separated by pounding timpani. I've never seen the movie, but it feels like he's just underlining the film's scares, shouting at us in the same way over and over again.
Yes, I know, you disagree. And maybe it's all the film could have asked for, and what the filmmakers demanded, and all that. Trust me, my love for Goldsmith can survive the occasional dud (to me) like this. His brilliance remains. But this one, I just don't get.
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Our experience of a film or a score can, of course, be influenced by many factors besides the actual merits of the work itself, which, themselves are somewhat subjective.
Nostalgia.
Love for the subject or author.
Our wanting (or not wanting) to like something.
We can find ourselves loving lesser works out of nostalgia, author-appreciation or other swaying factor. After all, love is not as logical as people think.
But I'm with you on this one Schiffy. It doesn't really do anything for me. But also like you, I don't begrudge anyone else and I understand.
Cheers
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Posted: |
Jun 26, 2014 - 8:39 AM
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By: |
AlexCope
(Member)
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What's with all the reasonable dissenting opinions? Am I in the right forum? But really, I understand why some people just aren't into this one. It's certainly generic monster music, with the playful Caribbean flourishes in percussion being perhaps its most inspired element. That said, while nostalgia admittedly plays a factor into why I enjoy the music now, when I first heard this I was fifteen years old and just getting into Goldsmith's music and film music in general and nostalgia certainly wasn't a factor then. The score was big and bold and accessible enough to entertain my untrained ears, but at the same time the ferocious action moments like E-Ride had a complexity to them that made me begin to appreciate that there was more than just an obvious melody to enjoy in film music but also a more technical kind of mastery to appreciate. If I were to just listen to Deep Rising at my age now without having heard it before, I'm not sure what I'd think, but that's not how it is, and though I rarely listen to it anymore, I still find some of that same enjoyment I first had when I do. Not as much, sure, but there's still something more than nostalgia there.
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