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Randy doubtless received something for his work. He's better off not being name-associated here.
Please don't get me wrong, I know that AF1 was designed as a Summer crowd pleaser.
I liked it until I realized how ignorant it was.
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Posted: |
Oct 24, 2008 - 12:18 PM
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By: |
MikeP
(Member)
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Why does the Goldsmith score take things more seriously? It doesn't question what we see, but supports it absolutely wholeheartedly, no matter how ridiculous the sentiment. I can't imagine Goldsmith's score fitting a Pixar movie about a comical group of insects trying to take back a patch of garden. Newman's on the other hand, I actually heard very similar music in exactly such a film. These extra-film associations have a way of bringing down a house of cards (which a hysterical Reaganesque thriller is, ultimately).
I mean, look at the cue Newman wrote for the motorcade sequence. He actually lines up a cue change with the secret service men getting out of the presidential cars, which makes it look funny. Goldsmith sensibly scores the scene more for a mood of patriotism and ignore that particular action.
Thanks, loved how you expressed that. As much as I love lots of Newman's stuff, he's just not an action film composer. The thing that stood out for me was how...all over the place...the music was - without really, for me, helping the visuals. The hijacking cue in particular, despite some great flourishes here and there, was just thundering about and not accenting any suspense or action. It was just busy from start to finish. Goldsmith's same take, was a very structured piece that rolled along with a purpose, built a ton of momentum and really pushed the sequence. Great work on these clips, excellent stuff !!
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This is amazing! It's such a great studying tool for anyone interested in film music.
I don't think any of us are qualified to say what either composer intended, but given what we have, I think there are a lot of good points about Newman's score. His main theme for the motorcade doesn't work because it's too "happy", whereas Goldsmith's traded off between major and minor chords, the latter which Newman's theme lacked. I did love his short bit for the violins at 2:23, as the camera tilts down from that green building to the motorcade.
I wouldn't call Newman's score mickey mousing at all; it's not so specifically edited to minute actions as much as it is the edits, which just isn't action-specific enough to be called mickey-mousing, in my opinion.
I just think Goldsmith was indeed more consistent with his themes, which gave his songs more overall focus, as opposed to Newman, who seemed to approach the action music in what Alan Menken called "cues" within a song (as a method to score difficult action), which accounts for the fact that in Newman's action music, something new is happening every 20 seconds. And sometimes it works, sometimes it doesn't. In the missile scene in particular, the "cue" from 4:00-4:15 was too bouncy and high-pitched to be serious enough.
And in many cases Newman did seem to score the obvious physical aspects of scenes (comical syncopation of car doors opening in motorcade, operator on phone, masses of people tumbling over as plane banks) as opposed to the thoughts and feelings of the characters. A contrast between the composers which is summed up by something Jerry Goldsmith once said about his own scoring technique (not to me of course): “If you’re scoring a scene for a man on a horse galloping away, you don’t score the gallop. You score the fear of the rider.”
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So apparently our president has the power of the force on his side? Listen at 3:26 and 3:39! Yikes!
I was thinking the same thing. He uses the first part of "The Force" theme with the last note altered. I wonder if he was doing a wink wink?
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