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If Jerry was repulsed by these films, why did he do DEEP RISING? ( a score I love, btw) 
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If Jerry was repulsed by these films, why did he do DEEP RISING? ( a score I love, btw)
Deep Rising isn't repulsive, it's tongue-in-cheek and not really that violent. The Thing is mean-spirited, devoid of humour and grisly in its details, Jerry was rightfully repulsed by that.
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Deep Rising isn't repulsive, it's tongue-in-cheek and not really that violent. The Thing is mean-spirited, devoid of humour and grisly in its details, Jerry was rightfully repulsed by that.
As Mr.Cohen has now established, Goldsmith didn't reject The Thing, he was too busy to consider it.
I wonder what John Williams would have done with The Thing?
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Let's get real here... Jerry Goldsmith should have scored everything in his time, plain and simple, every "thing."
YOR agrees with Ape!
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I love Goldsmith and have only a select few Morricone scores I enjoy but in this case, Ennio really nailed that sense of desolation and eeriness. His sense of Bartokian harmony and melodic lines was a perfect compliment to Carpenter's essay on paranoia. I don't think Goldsmith would have gotten that. I think he would have scored the action with his patented violent dissonance that worked beautifully in Alien (and many other film scores) but it wouldn't have been right for The Thing. Beltrami totally missed the mark in his sequel score because he choose to approach it more literally than Morricone did.
I remember seeing the remake/prequel when it came out and thinking in my head "no no no, you got that cue all wrong!" The music actually took away from the effectiveness of the film. I actually respect what the filmmakers did with the atmosphere.
Something like Giacchino's Let Me In would have been more along the lines of what was needed. That slow, brooding type music.
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YOR likes "Deep Rising".
A funny little trash movie!
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I love Goldsmith and have only a select few Morricone scores I enjoy but in this case, Ennio really nailed that sense of desolation and eeriness. His sense of Bartokian harmony and melodic lines was a perfect compliment to Carpenter's essay on paranoia. I don't think Goldsmith would have gotten that. I think he would have scored the action with his patented violent dissonance that worked beautifully in Alien (and many other film scores) but it wouldn't have been right for The Thing. Beltrami totally missed the mark in his sequel score because he choose to approach it more literally than Morricone did.
I remember seeing the remake/prequel when it came out and thinking in my head "no no no, you got that cue all wrong!" The music actually took away from the effectiveness of the film. I actually respect what the filmmakers did with the atmosphere.
Something like Giacchino's Let Me In would have been more along the lines of what was needed. That slow, brooding type music.
YOR does not agree that Goldsmith would not be able to score "The Thing" the way the movie need. On the contrary, his score would turn the movie even better.
And YOR likes what Morricone did for the movie.
As for the sequel-prequel... well, the movie is very stupid and the score reflects that. But it is a good musical composition on its own merits.
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Well, Yor is entitled to his opinion and perhaps Jerry would have done a splendid job. But I don't envision a better score than what the film received, unless a print would come out that would include more of Morricone's work and less of the "heart beat" music.
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Jerry Goldsmith facts.
Rule 1 Jerry is the best
Rule 2 Jerry is a better composer than everone else
Rule 3 repeat rules 1 and 2 over and over again (preferably on a Goldsmith tune)
Rule 4 If Jerry composes a score, and someone else composes an equally good score, Jerry's score is better.
Rule 5 If Jerry composes a score, and someone else composes a better score, Jerry's score is better.
Rule 6 Denie rule 5 and repeat rule 3.
D.S.
YOR agrees with this dude.
Goldsmith is indeed the best.
Even those without YOR's superior intellect can figure that.
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