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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
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Posted: |
Jun 12, 2014 - 12:52 PM
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By: |
Tom Servo
(Member)
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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! 
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Posted: |
Jun 13, 2014 - 8:45 AM
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By: |
Brad Wills
(Member)
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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.
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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!
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