 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Ah, thanks. So since you only heard synth mockups of two cues out of the two *dozen* cues that Jerry apparently wrote for this film, I'm gonna choose to hold out hope that there is still music of worth to be found here and newly recorded. 
The list of Goldsmith scores I don't find worth my time is a very, very small one. (But Do Not Fold, Spindle, or Mutilate is definitely on it, lol...)
Yavar
|
|
|
|
|
|
But there were more (about dozen done, as I recall either being told or reading about).
Also remember: he wanted to use wanted to use a specific guitarist (I can't recall the name; Torn Music mentions it). From passed experience when composes seek certain individuals for play their instrument on a score for a specific part like that, means that they want the sound of that person's instrument, the playing techniques that person brings to the table, and usually that person's adlibbing. Even if the guitarist is still alive, we don't have Jerry with us any longer to get what he wanted.
we also don't have any of his regular orchestrators alive anymore who would make necessary little changes here and there like to woodwind sections or what not, or the changes Jerry would make on the fly if what he wrote didn't translate on the scoring stage to what he wanted.
Even with the best possible circumstances, we'll only get a general idea of what he wanted.
|
|
|
|
|
|
When it comes to otherwise-lost Goldsmith, I'll take what I can get!
And we do still have talented people with us who worked closely with Jerry and even helped complete some of his scores in his style; Joel McNeely (Air Force One), Mark McKenzie (The Last Castle), and John Debney (Looney Tunes), in my descending order of preference.
Yavar
|
|
|
|
|
|
So, Yavar, where's. Your THRILLER commentary?
|
|
|
|
|
|
Okay, okay. I shared what little I had.
Yavar
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
