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I think the grand climax, where you see the Organians' true appearance, was borrowed from the time travel finale of Courage's "Naked Time" score.
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Here's a thought that was shared with me by a friend who is a 'semi' film score fan, but not a total one:
"Sol Kaplan's 'The Doomsday Machine' score is Jaws before Jaws."
For the avoidance of doubt he was not suggesting there was any copying going on, he just points out that, if you think about it, that is a very Jaws-esque score, with it's own Jaws-esque 'the monster is coming to get you' motif.
What say you?
Cheers
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I'd like to see some NEXT GENERATION scenes with this OS music tracked in.
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My favorite chunk right now is "Headin' Out To Eden" and Other Space Hippie Hits.
Yea, brother.
We reach.
You've gotta learn one of those on your uke!
I had that exact same thought yesterday. Thanks for encouraging me. Now I must make it happen...
(Cue maniacal laugh.)
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. . . For the avoidance of doubt he was not suggesting there was any copying going on, he just points out that, if you think about it, that is a very Jaws-esque score, with it's own Jaws-esque 'the monster is coming to get you' motif.
What say you?
Cheers
I've often thought this too. It does, in fact, use the exact same two-note suspense motif for the exact same purpose!
I don't think there's anything wrong with pointing out the similarity. However, in fairness, and for a better sense of historical perspective, one should also mention that Kaplan didn't invent that partcular two-note suspense motif himself, either.
In "Doomsday" threads such as this one . . .
http://www.filmscoremonthly.com/board/posts.cfm?threadID=80172&forumID=1
. . . members have pointed out earlier examples from film music (Waxman's "Doctor Jekyll and Mister Hyde") and the classical repertoire (Dvorak's 9th, 4th movement) which feature the same motif.
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"Sol Kaplan's 'The Doomsday Machine' score is Jaws before Jaws."
For the avoidance of doubt he was not suggesting there was any copying going on, he just points out that, if you think about it, that is a very Jaws-esque score, with it's own Jaws-esque 'the monster is coming to get you' motif.
What say you?
Cheers
I've often thought this too. It does, in fact, use the exact same two-note suspense motif for the exact same purpose!
The "Jaws" Shark Attack motif is directly based on Sergei Prokofiev's "Battle on the Ice" from the "Alexander Nevsky" film score. Personally, I think John Williams did an amalgamation of the "Battle on the Ice" and "The Doomsday Machine" ostinatos.
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excellent, thank you! I looked in the Library cue list and didnt see the episode title (I thought it was only used in that show, and they'd link the name to it parenthetically). Then I figured it would be easier to ask.
Were cues in the "Alternates and Outtakes" section not used in the shows?
Sure, there are a bunch. The titles of the library cues won't necessarily coincide with the episode you first heard it or the episode it appeared in. I just skim through them and let my ear do the identifying. There are 4 of them called Theme from Star Trek and they were all just used for Enterprise fly bys and I think they were all used in Balance of Terror. Or Zap the Spaceship, which is only a 5 note portion of that Charlie X cue. So, really, reading isn't always going to work.
Always happy to help, as are others, so ask away, but me? I find the actual search a lot more fun. :-)
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Posted: |
Dec 14, 2012 - 4:06 PM
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By: |
Tom Servo
(Member)
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Here's a thought that was shared with me by a friend who is a 'semi' film score fan, but not a total one:
"Sol Kaplan's 'The Doomsday Machine' score is Jaws before Jaws."
For the avoidance of doubt he was not suggesting there was any copying going on, he just points out that, if you think about it, that is a very Jaws-esque score, with it's own Jaws-esque 'the monster is coming to get you' motif.
What say you?
Cheers
I've often thought this too. It does, in fact, use the exact same two-note suspense motif for the exact same purpose!
The same "Jaws" motif was used in Waxman's Dr Jekyll and Mr. Hyde decades earlier, in the same context of a prowling monster.
All in all, people, it's two notes, a minor second apart on the scale, and is extremely common across all genres of music so no one should at all be surprised or shocked when they hear it multiple times. Williams may have had none of the prior examples in mind except Stravinsky's "Rite of Spring" when composing JAWS, but regardless it works brilliantly and is the best example of how amazing this technique was in instilling fear when there was nothing on screen.
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At the time, only three episodes in, when the series was doing a lot of Original Series type swashbuckling, I thought it fit in fine. The music was loud then, and that particular episode was really over the top.
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I just began season 3 this morning. So far I have to say season one is the fave for me.
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