 |
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 7, 2001 - 6:28 AM
|
|
|
|
By: |
OHMSS76
(Member)
|
Yes, David it is pap, but who's to say that we can't enjoy this right alongside Take A Hard Ride,Lonely are the Brave,The Trouble with Angels....the list of other great scores before this is endless. A true Goldsmith 'junkie' to quote JB will find something enjoyable in all of these scores. I play Leviathan whenever it's rainy outside and it works just fine for me. Guess it depends on your level of 'sanity'  http://www.filmscoremonthly.com/board/biggrin.gif"> http://www.filmscoremonthly.com/board/biggrin.gif"> NP:Cleopatra(North) All the best,
Sean
|
|
|
|
|
|
|
 |
Posted: |
Jun 8, 2001 - 12:54 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
Ah, dissenting voices! I indeed posted that the end title was stupendous, but you've made me think of my reactions to the whole score...Come to think of it, I thought that some of side one (of the LP) was a bit leaden, though I did like those backwards-recorded moments. The love theme, now I remember, was rather banal, but I was on cloud nine with those end credits.Saw the film on video many moons ago. I remember saying to my brother at the climactic scene, "Here's where he hits him " (because it was leading up to an Outlands moment), and, you know what? He hit him! But George Pan Comatose knew how to use music in his (weakish) films, and Leviathan is something which is, for me, made watchable by the music, even if it is average-to-good Goldsmith.
|
|
|
|
|
|
|
|
|
Posted: |
Jun 8, 2001 - 1:22 AM
|
|
|
|
By: |
OHMSS76
(Member)
|
George P has always struck me as a 'macho' director, like John Milius, in that they use strong scoring in their films. Listening to SHADOW CONSPIRACY(Broughton) I was surprised to see that he directed that film, and again the scoring is very taut,great percussion, dark tone overall.I wonder if ones personality dictates their use of music? I always thought,after hearing his early scores,that Kamen was some brooding evil man....then we find out he's a nice family man! Why such dark music? Sean
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
It just so happens...
1. Underwater Camp
2. Decompression
3. Situation Under Control
4. No Help *
5. The Drop * / Discovery
6. Personal Effects *
7. The Log *
8. Vodka *
9. One Of Us
10. Spots *
11. Tissue Sample *
12. Six Pack Is Dead *
13. Infection *
14. Crew Exams *
15. It's Growing
16. Dumping Bodies *
17. It's Alive! *
18. Genetics *
19. The Locker *
20. No Change *
21. Lights Out (The Body Within Part 1)
22. After Willie *
23. Cobb Is Bitten *
24. The Plan *
25. The Plan Part 2 *
26. The Message (The Body Within Part 2)
27. End Of Cobb *
28. We're Trapped *
29. Files Closed *
30. Can We Fix It?
31. Too Hot
32. Escape Bubbles
33. A Lot Better
* unreleased.
And exactly how much more music is there that isn't on the current CD?
15 to 18 minutes perhaps?
How long are these unreleased pieces anyway?
That's one bit of info that you didn't include in this post.
Does this score really deserve a OCD release?
Ford A. Thaxton
|
|
|
|
|
|
|
|
|
|
- you did Not Without My Daughter, so, really?
hahah. Touche!
I'd happily pick up an expanded Leviathan. Fun score, really cool use of electronics.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
