 |
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Oct 29, 2004 - 7:30 PM
|
|
|
|
By: |
TownerFan
(Member)
|
I'm in a full Goldsmith period in these days, so today I picked up OUTLAND and listened to it. It was a long time I didn't catch it and put it on my stereo.
Jerry's music is magic, as usual. But what struck me (again) like a lightining is the central action cue "Hot Water": whoa... that's an action cue!  Yes, there are several (lovely) nods to Stravinsky's PETROUSCHKA and THE RITE OF SPRING, but this is one of the most compelling, exciting, intense action cues Jerry ever wrote. The writing is first-rate, there's a beautiful care in the orchestration. I love the huge sound he brings out of the orchestra, there's wonderful, manic brass and woodwinds playing throughout all the cue.
Wouldn't be great if some modern coreographer would stage a ballet out of this music? I believe that great film music would qualify perfectly also as modern ballet music (LOGAN'S RUN action music come to mind too).
|
|
|
|
|
|
The scene that music is written for is an equally amazing action set piece. It's well shot, superbly edited and shows a very high level of craftsmanship that one rarely sees in modern action films.
Neil
|
|
|
|
|
|
|
|
|
|
Oh Gad! I just had a nightmarish flashback to Debbie Allen's Oscar ballets!
Yep. Try as I might, I'll never erase the image of the tap dancing tribute to Saving Private Ryan. Did she really not understand how tasteless it was?
|
|
|
|
|
|
Yep. Try as I might, I'll never erase the image of the tap dancing tribute to Saving Private Ryan. Did she really not understand how tasteless it was?
It would have been more fitting if the tapdancers were gunned down by machine gun fire from German bunkers.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"Hot Water" is indeed one of Goldsmith's most savage and intense chase cues. Just too bad that the end of it was clipped from the film.
|
|
|
|
|
|
What a coincidence. Last week I found this soundtrack in a shop but felt uncertain as to whether I should buy it, so I left it there.
You should go back and get it.
Neil
|
|
|
|
|
|
What a coincidence. Last week I found this soundtrack in a shop but felt uncertain as to whether I should buy it, so I left it there.
I'd try to get the one that features the music to Capricorn One on it.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Oct 30, 2004 - 7:35 PM
|
|
|
|
By: |
JohnSWalsh
(Member)
|
It's a great score, with all of Goldsmith's strengths--suspense, action, and sadness in that marvelous cue "The Message". And it's for an incredibly awful film--"Hot Water" is another example of a great cue to a lousy scene. If you can dig it up read Harlan Ellison's take on this insipid waste of film. Peter Hyams...... Such a bad moviemaker with such good taste in composers.
Too bad Introvision never caught on, though I think some of the modelwork in LOTR is kind of its offspring in that they stuck to lots of actual models.
|
|
|
|
|
|
|
|
|
|
I don't remember the music of Capricorn One but as a youngster I loved the movie!
The movie may not hold up to more mature tastes. I still enjoy it though. The score is also very good. I'd love to see a deluxe set come out for this score, with the album recording on one disc and the film recording on another. And while you're at it, make them both SA-CDs.
Neil
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This has always been one of my personal favorite Goldsmith scores. I really like how jagged and rough it is, and how cold and impersonal. It is one of the last Goldsmith scores to sound like this.
"Hot Water" is awesome, but I also enjoy "Early Arrival," which is a very tense cue.
|
|
|
|
|
|
When Goldsmith was in Toronto back in the early 80's, he said that he was completed bored with the film.
|
|
|
|
|
|
When Goldsmith was in Toronto back in the early 80's, he said that he was completed bored with the film.
It doesn't show with his music.
Neil
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
