Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Frantic Nightwatch/Killer by Night Gremlins
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
LOG IN
Forgot Login?
Register
Composer:
Keyword:
Line:
Month:
Year:
 
All Titles
Graphical | Text Only
Recent Releases
Graphical | Text Only
Golden Age Classics
Graphical | Text Only
Silver Age Classics
Graphical | Text Only
Retrograde Records
Graphical | Text Only
Box Sets
Graphical | Text Only
Composers
Site Map
Visits since
February 5, 2001:
14916936
© 2014 Film Score Monthly.
All Rights Reserved.
Return to FSM CDs Previous CD | Next CD
Twilight Zone: The Movie (1983)
Music by Jerry Goldsmith
Twilight Zone: The Movie Twilight Zone: The Movie
Click to enlarge images.
Price: $19.95
Limited #: 10000
View CD Page at SAE Store
Line: Silver Age
CD Release: April 2009
Catalog #: Vol. 12, No. 7
# of Discs: 1

One of Jerry Goldsmith’s greatest sci-fi/fantasy scores comes to CD in complete form: Twilight Zone: The Movie, the 1983 anthology film inspired by the classic Rod Serling TV series.

No composer was better suited to score the big-screen Twilight Zone adaptation than Jerry Goldsmith. By the early 1980s Goldsmith was a master in every genre of film, from intimate dramas to large-scale adventures, but he was particularly noted for his landmark scores for science fiction: Planet of the Apes, Star Trek: The Motion Picture, Alien and more—including Poltergeist (1982), for Twilight Zone: The Movie producer and co-director Steven Spielberg, and the original Twilight Zone series, for which Goldsmith scored classic episodes like “The Invaders.”

With massive technical ability at his disposal, and an unerring gift for drama and melody, Goldsmith wrote brilliant accompaniment for the four segments of Twilight Zone: The Movie, blending the intimate and epic, traditional and modern:

“Time Out,” directed by John Landis and starring Vic Morrow as a bigot facing just desserts, features an astringent, percussive score not unlike Goldsmith’s efforts from the original Twilight Zone TV series.

“Kick the Can,” directed by Steven Spielberg, features a magical, emotional score brimming with warmth as the residents of a retirement home discover an unlikely Fountain of Youth.

“It’s a Good Life,” directed by Joe Dante, spotlights all-powerful boy who has kidnapped adults for companionship, including a bewildered schoolteacher (Kathleen Quinlan); Goldsmith’s haunting score blends a melancholy theme with ethereal impressionism and shrieking horror for Dante’s postmodern scares.

Finally, “Nightmare at 20,000 Feet,” directed by George Miller and starring John Lithgow as a terrified airline passenger who sees a monster on the wing, features brilliant psychological scoring with devilish moments (foreshadowing Goldsmith’s approach for Gremlins) and symphonic size.

Twilight Zone: The Movie was released on LP at the time of the film, a program since issued on CD in Japan and Germany. For the first time, FSM presents the complete, chronological score, with bonus tracks of the film’s songs (“Nights Are Forever,” by Goldsmith as featured on the LP, and “Anathesia” by Joseph Williams, previously unreleased) plus album edits of relevant cues. (The CD is carefully designed so that the LP sequence can be programmed if so desired.)

The complete score has been newly restored from the first-generation masters by Mike Matessino in cooperation with Bruce Botnick, Goldsmith’s longtime recording engineer and colleague who has mastered this CD. Matessino and Jeff Bond provide the authoritative liner notes. 

Note: The correct time for track 2 is 4:01 (as displayed at right); it was misprinted as 4:51 on the tray card. Time to reissue?

Jerry Goldsmith Scores on FSM
About the Composer

What to say about Jerry Goldsmith (1929-2004), the reason so many of us are soundtrack collectors in the first place? The Los Angeles native knew early on he wanted to write music for the movies, had an extensive training in television in the 1950s (starting at CBS), and went on to an unparalleled career in the movies—capable of brilliance in every genre, and beloved by his peers and fans. FSM has released as many of his scores as we could get our hands on, from classic TV work like The Man From U.N.C.L.E. to famous features (Patton) and obscure gems like The Illustrated Man and 100 Rifles...heck, make that all of them. Jerry, we love you and miss you! IMDB

Comments (11):Log in or register to post your own comments
Spectacular sounding release and one of my remaining 5 or 6 holy grails now delivered. In addition to the wonderfully remixed and remastered sound, the inclusion of the complete original score is more than I could have hoped for. A standout for me is the harp cue "Harp and Love" from the Kick the Can segment, absolutely beautiful. If you're a Goldsmith fan, don't miss out on this one. Bravo FSM!

In a sense you get 4 scores for the price of one, each one equally interesting. It amazes me how the writing on Spielberg's episode "Kick the can" is in the same vein as something Williams would have produced. It's a prime example of what Henry Mancini called "Goldsmith's chameleon adaptability" as he shifts from one style to another for every segment in this movie.

I'm not the biggest fan of his television work for the Twilight Zone, which was fresh at the time, but now sounds stale and outdated. This 80's score however would be a blessing to any director today.

I said it before and I'll say it again, kudos on this release, especially the liner notes which are a delight to read.

I purchased the Japanese CD on eBay last summer but, had I known this was coming, I would've waited! I enjoy this score and, for some odd reason, I keep coming back to the "Time Out" cues. The accident overshadows everything but it would be nice to get Landis' reaction to Goldsmith's work one day.

(If the filmmakers could choose their own composers, "Time Out" probably would have been scored by Elmer Bernstein.)

I'm not the biggest fan of his television work for the Twilight Zone, which was fresh at the time, but now sounds stale and outdated.

Boy, I can't agree with you there. I would love to hear more scores with the precision, inventiveness, and economy of Goldsmith's television "Twilight Zone" scores in this or any other decade. Don't get me wrong -- I love the grander "The Movie" score, too, which has all those qualities but on a larger scale. Don't make me choose!

This is probably the best Goldsmith album you can get this year (at least so far), and I've been sticking to it for a whole week.

The sound on this release, in my opinino, is superior to the Warner Germany release, though sometimes the LP arrangement delivers a better listening experience. (Hey, don't forget that this FSM release is designed carefully, so you can programme it as the 1983 album. )

However, there is one thing I don't like on the original LP programme - ends the piece with Constant's Twilight Zone theme.(No offence to the theme itself. In fact, I even enjoy this theme to Jerry's score to Segement 1) It should be left out as a single cue to finish the album, in my opinion. (Hey, but who cares? We are given the complete score, aren't we?) So, a really fair reason to own it, isn't it?

Still waiting on mine to get here. SAE has never taken this long to deliver...sigh.


Boy, I can't agree with you there. I would love to hear more scores with the precision, inventiveness, and economy of Goldsmith's television "Twilight Zone" scores in this or any other decade. Don't get me wrong -- I love the grander "The Movie" score, too, which has all those qualities but on a larger scale. Don't make me choose!


Well for me it's an obvious choice as I have the isolated material on the dvd release and the silva screen release and I rarely listen to them. I know this show is a holy grail to many people but I never got into it, save for the 80's version which I prefer over the older.

So for me the TZ FSM album is the best to come out of that show.

Got this yesterday and listened to it today.

MAGNIFICENT. :D

One absurdly tiny niggle, though...the first cue in the "Time Out" segment is listed as being about 50 seconds longer than it actually is (odd, because FSM doesn't usually make these kind of timing mistakes, unlike Varese, which does this constnatly).

Other than this, the CD is superbly produced, with top-notch sound and liner notes.

Superb reissue.
Probably the best of the year so far.
What sound! Great notes!
A big thank you!!

For me, the packaging for this CD makes it worth buying. The booklet is fantastic (as are all FSM booklets). I prefer Time Out and It's A Good Life as they were on the original issue, but Kick The Can and Nightmare.. are standouts and the extra stuff is just the icing in the cake.
Goldsmith got a bit of stick in the past for some of his album arrangements and for leaving off some great cues for less interesting material, but he produced a fantastic set with the original LP and subsequent CD.
There are other Goldsmith scores I would have chosen for expansion before this one, but now I have it, I'm more than happy with it.
Keep 'em comin' Lukas! (Jeremiah ?? please)

View more comments   |   view last
Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
Jerry (Jerrald) Goldsmith

Violin:
Dixie Blackstone, Harry Bluestone, Ron Clark, Isabelle Daskoff, Bonnie J. Douglas (Shure), Assa Drori, David Frisina, Endre G. Granat, Thelma Hanau (Beach), Reginald Hill, Ezra Kliger, David L. Newman, Stanley Plummer, Nathan Ross, Robert A. Sanov, Sheldon Sanov, Haim Shtrum, Paul C. Shure, Barry Socher, Marshall Sosson, Joseph Stepansky, Robert "Bob" Sushel, Polly Sweeney, Ilkka I. Talvi, Mari Tsumura (Botnick), Dorothy M. Wade (Sushel), Harold Wolf

Viola:
Kenneth L. Burward-Hoy, Alan B. DeVeritch, Norman Forrest, Pamela Goldsmith, Allan Harshman, Roland Kato, Louis Kievman, Carole S. Mukogawa, Kazi H. Pitelka, David Schwartz, Linn Subotnick

Cello:
Ron Cooper, Marie Fera, Barbara Jane Hunter (Badgley), Dennis Karmazyn, Miguel Martinez, Eleanor Slatkin, David H. Speltz, Gloria Strassner

Bass:
Dean S. Cortez, Nathan H. East, Arni Egilsson, Milton Kestenbaum, Ed Meares, Peter A. Mercurio, Bruce P. Morgenthaler, Buell Neidlinger

Flute:
Louise M. DiTullio (Dissman), Susan G. Greenberg, Geraldine Rotella

Oboe:
William Criss, Earle D. Dumler, Arnold Koblentz

Clarinet:
Don Ashworth, Roy A. D'Antonio, Louise M. DiTullio (Dissman), Dominick Fera, Gary G. Gray

Bassoon:
Don Christlieb, Norman H. Herzberg, Michael R. O'Donovan

French Horn:
Vincent N. DeRosa, David A. Duke, Arthur Maebe, Jr., Brian D. A. O'Connor, Richard E. Perissi, Henry Sigismonti

Trumpet:
Robert Divall, Mario F. Guarneri, Tony Plog

Trombone:
Richard Noel, Phillip A. Teele, Lloyd E. Ulyate

Tuba:
John T. "Tommy" Johnson, James M. Self

Keyboards:
Ian Fraser, Ralph E. Grierson, James Newton Howard, Michael A. Lang, Steven M. Porcaro

Guitar:
Dennis Budimir, Thomas "Tommy" Tedesco

Harp:
Dorothy S. Remsen

Drums:
Sheldon "Shelly" Manne, Joe Porcaro

Percussion:
Larry Bunker, Leonard Castro, Sheldon "Shelly" Manne, Jeffrey Porcaro, Joe Porcaro, Emil Radocchia (Richards), Kenneth E. Watson, Jerry D. Williams

Unknown:
Arthur J. Freeman, Edward Lawrence Quinn

Arranger:
Jerry (Jerrald) Goldsmith, Arthur Morton

Contractor:
Patti Zimmitti (DeCaro)

Copyist:
Bruce H. Babcock, Harvey R. Cohen, Barbara Franklin, Dan Franklin, Joel Franklin (Guzy), Jo Ann Kane, Robert L. Manrique, Alvin Sanders, Eric L. Stonerook, Fred Sutenski

Music Consultant:
David L. Newman

© 2014 Film Score Monthly. All Rights Reserved.