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Why do we have members still, who think they have to do a search and find a release on some obscure website of a known score? If a known score gets released there will be two or three htreads here and it'll be a label we either know or one that's still relatively fresh; no hunting will be required.
I would imagine it is more about a frantic wanting or desire for a thing (no pun intended) than ignorance. I'm sure those of us who have been collecting film scores for quite a while understand the allure these unmentionables have on us, as there was once a time where much of this wonderful music we have today from our favorite labels was simply unavailable.
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Who wrote the main, two-note-based theme cue? I.e., the one used in the film's helicopter intro (and subsequently, incl. the end credits)?
It's all synth, so that leads me to think it's by JC/AH. But it's on the all-EM Varese Lp/CD as "Humanity (Part 2)".
It's also track 2 on the DSX album. (I actually prefer the BSX re-recorded version)
Everything you hear on the CD is by Morricone. It was all explained right at the top of the thread.
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Dmitri Tiomkin 1951
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That’s incorrect. I owned all DVD editions and the one they mention never contained an isolated score. It just played the whole album from start to finish over a menu screen. Not an isolated score.
it had an isolated score only on the documentary on the 1998 DVD. if that was complete or what I don´t know
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Nicolai
What is your source for the information that Goldsmith was Carpenter's first choice and can you evidence it?
The original source I have for this information stems from a 1980s film music magazine. (Back then, the only information about new soundtracks, composers, etc.... since there was no World Wide Web.) In it, it was mentioned that in a (IIRC) radio interview Goldsmith said he was approached (by Carpenter) to score THE THING but Goldsmith declined. No reason why he declined was given (the magazine specifically mentioned that no reason was given).
I did not hear the radio interview, so I only know this from the magazine. I still have that magazine, would have to dig it up again to name the radio station/programme cited for this information.
I do know for a fact the Morricone is quoted by Carpenter on the back of the Varese HALLOWEEN soundtrack LP as one of the biggest influences on his work along with Bernard Herrmann. I also understand that Carpenter played the theme from ONCE UPON A TIME IN THE WEST at his wedding.
So it would be strange if Morricone was not his first choice for the score once he determined that there was no time to write it himself. Perhaps one of the producers was thinking about Goldsmith?
Yes, I agree, and I'm fully aware of Carpenter naming Morricone and Herrmann as his influences. To approach Goldsmith may have been the producer's idea (see below). Morricone seems to have been Carpenter's favorite, though it provided some logistic and language difficulties.
I remember in some other interview (which I have actually seen) Goldsmith mentioned (just as a fly-by remark) that he was approached (attached?) to score GRAND PRIX but for for some reason did not do it. It was probably a similar remark concerning THE THING.
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Producer Stuart Cohen mentions in his blog the following:
"In a perfect world, given unlimited time and resources, I think John would have preferred to compose the music for THE THING himself. The realities of the work yet to be done, however, combined with the need for a more expansive and layered approach to the score led us to consider other options. We initially offered the film to Jerry Goldsmith who was unavailable, doing both POLTERGEIST and TWILIGHT ZONE for Spielberg" (Stuart Cohen)
So Goldsmith seems to have been the first choice, regardless of whose idea it was in the end.
(Source: http://theoriginalfan.blogspot.de/2011/09/music.html )
Incidentally, this quote from the same source should also clear up any doubts about who wrote the two-note heartbeat synthesizer theme:
"On the return trip home [from Italy] John was uneasy and wondered whether he had communicated his thoughts successfully - after all, there had been only one meeting between the two men, and there would be no more face - to - face conversation until the session in Los Angeles. The language barrier was a big problem - were there others, generational, cultural? Above all, would this work ?
Doubts were definitively dispelled two months later when Morricone opened up his tattered valise and removed a reel of two inch tape containing the now-emblematic "heartbeat " theme. As we heard this for the first time in the recording booth at Universal I looked over at John, whose expression was initially one of relief, followed by something close to wonder... it seemed that Morricone had understood John perfectly."
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I remember in some other interview (which I have actually seen) Goldsmith mentioned (just as a fly-by remark) that he was approached (attached?) to score GRAND PRIX but for for some reason did not do it.
Regarding "Grand Prix":
July 11th 1995 - Jerry Goldsmith interview on America On Line (AOL Online Host).
Question: Jerrald, I've listened to and admired your work for many, many years. THE SAND PEBBLES is a personal favorite. Were there any unique challenges, or anecdotes about doing that score?
GoldsmithJ: Yes. Originally I was supposed to do GRAND PRIX, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do THE SAND PEBBLES, but he got sick, so Fox preempted me out of GRAND PRIX, and to my good fortune, I got to do THE SAND PEBBLES. It was my first time working with Robert Wise and it was a great experience.
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