But where was Goldsmith's theme in that Poltergeist remake?
Just as absent as the script and Sam Rockwell's enthusiasm for the project. Seriously, never before has an actor's performance projected such a consummate sense of "What the hell am I doing here and where can I find a new agent?"
If you remove Jerry's influence what is left? Pretty bland. I'd like to hear one of the action cues.
I'm inclined to agree. The juxtaposition of Goldsmith's theme and rich harmonic tapestry to the newer material which is rather simple in its design doesn't really mesh. And I'm wondering why Kurzwel didn't try to work on some harmonic or thematic variations of Goldsmith's original in order to make it seem less obvious when referenced.
I admire the attitude toward including Goldsmith's material but the execution as evidenced thus far isn't as deft as I would have liked... Need to hear more of the score for a better perspective on it as a whole however.
I thing the juxtaposition of Goldsmith is wonderfully executed!
It will tie-in greatly this movie with the first Alien and also will infuse some needed elegancy.
But I also doubt any Goldsmith material will be used on more than this sole track. Wait a see.
Thank you for the positive vibes amidst this ocean of naysayers who hold it unreasonably up to Goldsmith's classic!! Like you, I REALLY like what I'm hearing. Far more engrossing and clever than I had anticipated. I'll await further judgement untill I've heard the whole thing.
Interesting that Scott didn't care much for Jerrys score in '79 but now wants to shoehorn him into these prequels.
What do you mean? Scott has gone on record many times to state his admiration for Goldsmith's score (regardless of the changes that he and Rawlings did in the post).
And I'm wondering why Kurzwel didn't try to work on some harmonic or thematic variations of Goldsmith's original in order to make it seem less obvious when referenced.
Are you sure, he knows how to do that? Maybe he isn't doing notes, that's for old educated farts.
OK, now I'm kiddin, he wouldn't get this job, if he wasn't capable and talented, right?
Thank you for the positive vibes amidst this ocean of naysayers who hold it unreasonably up to Goldsmith's classic!! Like you, I REALLY like what I'm hearing. Far more engrossing and clever than I had anticipated. I'll await further judgement untill I've heard the whole thing.
Unreasonably? The guy uses Goldsmith... I think it's OK to judge the result upon this. And as someone else said... strip away all of Jerry, what is left? Meh...
Edit: It's sounds exactly what I would expect of some (professional) "fan" made remix. Nothing more, nothing less.
Interesting that Scott didn't care much for Jerrys score in '79 but now wants to shoehorn him into these prequels..
Wouldn't want to be held to my opinions or tastes from 1979 either! Remember seeing Alien in the theater in 78. Scare to the point of covering my eyes. (Almost). Still remember Rex Reed's review of Aliens in the N Y Post. The most exciting edge of the seat movie I have ever seen in the theater. The other two movies tried to combine themes of the first two unsuccessfully IMO. Loved Prometheus and looking forward to this one. Using my last personal day on the 19th. Just wish there was more than low electronic humming.
I like that they went back to the original ALIEN main titles (not the revised film version). However those synth flutes just sound cheap to me. I can't help it. They just throw me off. Other than that it's well made I think. Way more orchestral in nature than anything from Streitenfeld's Prometheus (which I personally didn't like that much).
To say what's left if you strip away Goldsmith is a bit unfair IMO. The track is a pure homage to the '79 theme so that's the same as saying what would be left of the Star Wars main title if you throw out all of its themes.
I like that they went back to the original ALIEN main titles. However those synth flutes just sound cheap to me. I can't help it. They just throw me off. Other than that it's well made I think. Way more orchestral in nature than anything from Streitenfeld's Prometheus (which I personally didn't like that much).
To say what's left if you strip away Goldsmith is a bit unfair IMO. The track is a pure homage to the '79 theme so that's the same as saying what would be left of the Star Wars main title if you throw out all of its themes.
With all due respect: for example: Rogue One composed by Michael Giacchino, Star Wars themes by John Williams - Alien Covenant composed by Jed Kurzel...
And speaking of homage... then 300 must be an homage of Titus
Hmm, not sure if we both mean the same thing ;-) Surely if it's only that one cue that's referencing Goldsmith, they wouldn't need to point out to Goldsmith in the same way as with Rogue One.
And we all know that Bates and WB got their asses kicked for the obvious Titus rip-offs in 300 :-) So that's again another story I would say.
Now listening to the album...and it's a very pleasant surprise.
Kurzel's score pays tribute to Goldsmith's Alien in many tracks, using and playing with his thematic ideas. When it's 100% Kurzel, it's more dark sound design and in Prometheus's style, so it's less captivating but it works fine in terms of atmosphere, with two urgent action tracks near the end in Alien 3's agressive style.
