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 Posted:   Jun 12, 2014 - 8:14 AM   
 By:   nerfTractor   (Member)

I am actually quite partial to LEVIATHAN, and not just the main or end titles but I have come to really enjoy the entire score for what it is: a solid, entertaining Jerry score from the early "ponytail" era. The movie of course is a real turkey, but I listen to the score at least once every few months, and usually repeat it once or twice before something else comes to the forefront. I like how the action scoring is not quite so frantic as some of his other work from the period, but tends to churn along with appropriate tension and thematic interest. And of course the lyrical passages are lovely, to say nothing of his usual skill in turning the original murky main theme into that triumphant trumpet melody at the end, just by altering the tempo and orchestration. It doesn't really bother me that this might not be his masterpiece. We certainly have plenty of those to go around. It's just a really solid score to my ears, and one I really enjoy.

 
 
 Posted:   Jun 12, 2014 - 8:23 AM   
 By:   Rnelson   (Member)

It must be a curse to be a genius as Goldsmith was because everyone seems to expect a new monument from you every time you pick up the paintbrush. So what if some of these scores don't share the stratosphere with so many of his other masterworks? Sometimes the objective is just to do what the material deserves or requires and that's all.

I suspect this is a reaction to my post, so let me comment:

I totally agree!!!

And that's why I don't feel the need to purchase everything that comes out. The good ones will suffice.

Please don't think I was "complaining" that "DEEP RISING" isn't a masterpiece. If you are indeed reacting to my post, if you read again I hope you'll see I wasn't.

Cheers


No worries. It wasn't directed at you. There is a general sense that artists who exhibit extraordinary potential must consistently and repeatedly prove that potential. The truth is that Goldsmith did just that... but not always. Maybe that's why it's so easy to be disappointed in some of his later output.

I was guilty of the same until I realized it wasn't realistic or fair. But I can enjoy a goofy score like Deep Rising as well as a great one like Alien.

 
 Posted:   Jun 12, 2014 - 8:29 AM   
 By:   Stephen Woolston   (Member)

Yes, I recognize that too.

Great scores are always essential, of course. With lesser scores it become a much more personal thing. Sometimes you fall in love with them, sometimes you don't.

As an example, I don't think "ALIEN NATION" is one of JG's great scores either, but for some reason I actually got attracted to that one. Which is doubly bizarre because I never figured myself a lover of JG's synth period. Yet, something drew me in on that one and I really can't explain what it is. I really can't. I'm playing that one right now.

And you're so right about "goofy". Hey, I love John Barry's "GAME OF DEATH". So many people look at me funny on that one, but that word fits. There's something attractively goofy in that one for me. But not for everyone.

:-)

Cheers

 
 
 Posted:   Jun 12, 2014 - 8:54 AM   
 By:   Dan Hobgood   (Member)

Totally agree, Meathook!

Dan

 
 Posted:   Jun 12, 2014 - 11:52 AM   
 By:   Tom Servo   (Member)

Yes, I recognize that too.

Great scores are always essential, of course. With lesser scores it become a much more personal thing. Sometimes you fall in love with them, sometimes you don't.

As an example, I don't think "ALIEN NATION" is one of JG's great scores either, but for some reason I actually got attracted to that one. Which is doubly bizarre because I never figured myself a lover of JG's synth period. Yet, something drew me in on that one and I really can't explain what it is. I really can't. I'm playing that one right now.

And you're so right about "goofy". Hey, I love John Barry's "GAME OF DEATH". So many people look at me funny on that one, but that word fits. There's something attractively goofy in that one for me. But not for everyone.

:-)

Cheers


Stephen, you're not alone, I'm also a big fan of both ALIEN NATION and GAME OF DEATH! smile

 
 
 Posted:   Jun 12, 2014 - 11:54 AM   
 By:   riotengine   (Member)

And you're so right about "goofy". Hey, I love John Barry's "GAME OF DEATH". So many people look at me funny on that one, but that word fits. There's something attractively goofy in that one for me. But not for everyone.

:-)

Cheers


You're not the only one who enjoys Game Of Death Stephen. smile

Greg Espinoza

 
 Posted:   Jun 12, 2014 - 12:54 PM   
 By:   jackfu   (Member)

But in the middle both scores are about equal in terms of being adequate monster music.

Definitely. Adequate; neither spectacular nor boring. I like both, but favor Leviathan.

And add me to the list of Game Of Death-philes. Awesome job by Barry.

 
 Posted:   Jun 12, 2014 - 11:41 PM   
 By:   DeviantMan   (Member)

Deep Rising - better film

Leviathan - better score


Ha,
Great nutshell response!
DEEP RISING is obnoxious action and the score has it in spades.

LEVIATHAN is Goldsmith at his best in '89 and that movie was the total opposite mostly due to rotten script that wastes a capable cast of actors. Daniel Stern as "SIX PACK"? Irony is that DEEPSTAR SIX was a much better film. I prefer the LEVIATHAN score, it's just plan cool. Great themes, creepy ambiance, nice use of electronics, satisfying action and finale writing. DEEP RISING has it's fair share too, but it's not as cool as LEVIATHAN.

 
 
 Posted:   Jun 13, 2014 - 7:45 AM   
 By:   Brad Wills   (Member)

LEVIATHAN - "A" Jerry Goldsmith score, as in one that not only boasts clever thematic and motivic development via arrangement, counterpoint and variation, but also utilizes specific instrumental colors to impart a sense of the movie's setting . Not one of the maestro's best, but still a worthy effort that upon closer inspection yields a small trove of hidden treasures.

DEEP RISING - "THE" Jerry Goldsmith score of the mid 90's-00's, that with a few exceptions, is virtually interchangeable with any one of its' contemporaries, relying on a stock bag of tricks and tropes that pale in comparison to the above stated musical assets. You've eaten this bag of candy many times. It's sweet and yummy, and it gives you a rush, but after a while you really crave something salty.

LEVIATHAN; musically interesting. DEEP RISING; fun, but empty and soulless.

I'll take "interesting" any day.

 
 
 Posted:   Jun 13, 2014 - 7:46 AM   
 By:   Brad Wills   (Member)

dp

 
 
 Posted:   Jun 13, 2014 - 8:25 AM   
 By:   Kev McGann   (Member)

Haha...thumbs up Brad, I like it smile

I should add, as the OP, my choice is Leviathan all the way.
The opening whalesong, trumpety main theme and action licks, cheesy love theme and the Joe Dante-like end credits make this a fun Goldsmith score all the way, while Deep Rising is that interchangeable score he delivered when he realised 'what is the point?' in wasting all that time on the intricate counterpoint and orchestration when nobody (outside of us) hears or cares!

 
 
 Posted:   Jun 13, 2014 - 8:26 AM   
 By:   Kev McGann   (Member)

Haha...thumbs up Brad, I like it smile

I should add, as the OP, my choice is Leviathan all the way.
The opening whalesong, trumpety main theme and action licks, cheesy love theme and the Joe Dante-like end credits make this a fun Goldsmith score all the way, while Deep Rising is that interchangeable score he delivered when he realised 'what is the point?' in wasting all that time on the intricate counterpoint and orchestration when nobody (outside of us) hears or cares!

 
 
 Posted:   Jun 13, 2014 - 8:26 AM   
 By:   Kev McGann   (Member)

Haha...thumbs up Brad, I like it smile

I should add, as the OP, my choice is Leviathan all the way.
The opening whalesong, trumpety main theme and action licks, cheesy love theme and the Joe Dante-like end credits make this a fun Goldsmith score all the way, while Deep Rising is that interchangeable score he delivered when he realised 'what is the point?' in wasting all that time on the intricate counterpoint and orchestration when nobody (outside of us) hears or cares!

 
 
 Posted:   Jun 13, 2014 - 8:28 AM   
 By:   Kev McGann   (Member)

Wow! Triplets! You won't find them in Deep Rising wink

 
 Posted:   Jun 13, 2014 - 8:32 AM   
 By:   Sean Nethery   (Member)

LEVIATHAN AND DEEP RISING!

I'm guessing that Goldsmith would roll his eyes at this whole thread. (Well, to be fair, I think he would roll his eyes at just about all these threads on his work.) For me, there's not really a nickel's worth of difference between these two scores in terms of Goldsmith doing his usual stuff in each period. Tone is different, sure, but the effort he gives the movies is effective but not inspired, and to my ears, about the same quality.

I get that some are drawn more to one than the other, but I hear the same master at work doing interesting and surprising things that no one else ever did with this kind of material.

And I love them both!

 
 Posted:   Jun 14, 2014 - 1:08 AM   
 By:   batman844   (Member)

I love both scores and I'm really glad to be getting an expanded release of Deep Rising.

However, in my opinion, Leviathan is both the better score and film. I agree with earlier posts, the score is more intelligent and has a lot more depth in its ideas.

I also don't understand why so many people don't like the film - I appreciate it disappointed upon release because it couldn't stand up to similar films at the time (Aliens, Abyss etc), but it's still very watchable. It's a nice combination of Aliens, The Abyss and The Thing, headlined by Robocop! What's not to like? ;-)

 
 
 Posted:   Jun 14, 2014 - 4:54 AM   
 By:   PatrickB   (Member)

I have a good number of Goldsmith's, mainly his best soundtracks, but don't like electronic scores nor the horror genre in music.
So I would like to know what are the styles of these two ones.
I don't heard at all any of them. are they well-worthy enough (that is to say rich, varied, installing interesting climates, well written, etc)

Thank you for your lights.
Patrick B

 
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