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Sort of a variation comes to mind: I felt the need to try and get into Alan Silvestri's work, and was particularly drawn to the Predator, what with it apparently being one of the best-selling soundtracks ever.
I revisited both Predator films, and to my surprise, found the first one (both film and score) incredibly dull and slow. "This is considered one of the greatest action scores ever? Really? I must be missing something. I have to be wrong for not getting into this. I need to give the listening experience a chance."
So because I'm insecure I suppose, I bought Intrada's release...cool main theme aside, I still just couldn't get into it at all, no matter how many times I played it.
I figured it must be time to surrender my "film music fan" badge and go sulk in the corner, that there must be something wrong with me, maybe I'm ill..and then I watched Predator 2.
Complete opposite. LOVED the film and absolutely LOVED the score. It felt SO much more powerful, so delightfully energetic, and now the theme's been in my stuck in my head. I was utterly confused to discover that everyone adores the original score, and the sequel is mostly dismissed. I feel like I came from a different planet and don't understand human culture yet.
So now I'm stuck with a copy of the original score, forever cross at myself for not buying the sequel score instead. Kind of led to a grudge (and not the Christopher Young kind).
Anyway, more on-topic, I love Jerry Goldsmith's Leviathan...but I have to burst out laughing every time I listen to it, having to be reminded how atrocious the film itself is.
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Love the Varese Sarabande LP for Loek Dikker's The Fourth Man, which I've had for years prior to watching the Verhoeven movie.
The film itself is a great disappointment because Verhoeven piles on loads of visceral and scatological scenes onto a subject matter that is essentially a Bergmanesque meditation on individuals with fixations/obsessions stemming from Catholic upbringing.
My dislike of the film does not hamper my continued enjoyment of Dikker's score (which at times resembles middle-period Karol Symanowski works).
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Sort of a variation comes to mind: I felt the need to try and get into Alan Silvestri's work, and was particularly drawn to the Predator, what with it apparently being one of the best-selling soundtracks ever.
I revisited both Predator films, and to my surprise, found the first one (both film and score) incredibly dull and slow. "This is considered one of the greatest action scores ever? Really? I must be missing something. I have to be wrong for not getting into this. I need to give the listening experience a chance."
So because I'm insecure I suppose, I bought Intrada's release...cool main theme aside, I still just couldn't get into it at all, no matter how many times I played it.
I figured it must be time to surrender my "film music fan" badge and go sulk in the corner, that there must be something wrong with me, maybe I'm ill..and then I watched Predator 2.
Complete opposite. LOVED the film and absolutely LOVED the score. It felt SO much more powerful, so delightfully energetic, and now the theme's been in my stuck in my head. I was utterly confused to discover that everyone adores the original score, and the sequel is mostly dismissed. I feel like I came from a different planet and don't understand human culture yet.
So now I'm stuck with a copy of the original score, forever cross at myself for not buying the sequel score instead. Kind of led to a grudge (and not the Christopher Young kind).
Anyway, more on-topic, I love Jerry Goldsmith's Leviathan...but I have to burst out laughing every time I listen to it, having to be reminded how atrocious the film itself is.
I have not seen either film, and had not heard either score before buying the two most recent re-releases.
Predator left me a bit cold- solid, but not that engaging. I like the sequel score much more (that 'jungle' material is a great hook, and the rest of the score just seems more engaging). The sequel helped me understand what Silvestri was going for in the first move, but I still prefer the sequel score to listen to.
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I generally do my research before devoting time to watching movies and TV shows. I've watched plenty of things just for the music or some other aspect of the production. If I regretted anything afterwards, I probably knew it was going to be a slog in the first place. So I save those experiences for days I have absolutely nothing else that must be done.
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I think almost every time I've done this, the film has been a disappointment. The biggest and earliest was The Eiger Sanction for sure.
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Movies as we envision them in our heads before watching them often tend to be better than the actual thing once we've seen it. Similarly, great film music can paint a better picture in our heads or evoke within us stronger emotions than the films they're attached to. Sometimes a bad film is just a bad film and I can enjoy the music perfectly well on its own (Diamonds Are Forever, The Phantom Menace, Godzilla '98). Sometimes the content or quality of a film really does taint the power of the score by association. I'm trying to think of a good example of this and can't at the moment, but this is the reason I won't watch films like The Time Machine '02 or The Fountain: both scores that I enjoy immensely and don't want to risk tainting for myself by coming to associate them with bad films.
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A.I. left a bad taste in my mouth, making it difficult to enjoy John Williams' score thereafter.
I was quite captivated by the CD of Jarre's Sunshine, which got quite a bit of play on my stereo -- until I saw the film. I've barely listened to it since.
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