 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 15, 2018 - 6:14 AM
|
|
|
|
By: |
DavidCorkum
(Member)
|
So it looks like the CD is fine :-) There may be a missing alternate... maybe... but I'm good as long as the film version of the cue is there.
This statement strikes me as odd. We've all seen many instances when a composer's initial work is altered to adjust to some perceived dramatic requirement of the film - a change in editing, a desire to switch emphasis, whatever. Shouldn't the artist's instincts before these alterations be the work that is most respected? We're interested in scores as art, not as a means of re-experiencing the movies, as LP producers used to assume. If a composer changes something because he feels it just doesn't work as music, fine. But changes to fine tune the music to the needs of a film on a technical level, although pretty standard in this business, is not what should be acknowledged as the intent of the artist.
You wouldn't want the CD to Alien to be two thirds shorter, would you?
In the case of "Dog Overboard", Goldsmith wrote the music with the "dog yap". Maybe he dropped it because he changed his mind when he heard it (which would be a good reason not to acknowledge it). But maybe a producer didn't like it. Or perhaps they thought that it drew an audience's attention to the dog excessively, and away from the characters for a moment. But is was still his original artistic work, and shouldn't be discounted strictly because it wasn't the film version. Even if it was silly.
.
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 15, 2018 - 7:27 AM
|
|
|
|
By: |
Spymaster
(Member)
|
This statement strikes me as odd. We've all seen many instances when a composer's initial work is altered to adjust to some perceived dramatic requirement of the film - a change in editing, a desire to switch emphasis, whatever. Shouldn't the artist's instincts before these alterations be the work that is most respected? We're interested in scores as art, not as a means of re-experiencing the movies, as LP producers used to assume. If a composer changes something because he feels it just doesn't work as music, fine. But changes to fine tune the music to the needs of a film on a technical level, although pretty standard in this business, is not what should be acknowledged as the intent of the artist.
Firstly, what I said was not a blanket statement. Of course something like Alien should be treated differently. And even Lonely Guy contans a small goldmine of multiple takes/approaches. Which is wonderful.
But this is a synth that, for all intents and purposes, only exists on an illegal product. Who know what Goldsmith's intention was. If he was originally keen for it to be included and was forced to remove it then sure, let's have it included if it exists. If it was dropped because it didn't work then I've no problem with it being left off.
It would be good to know the precise origin of this cue, why it was dropped and why it's not on the Intrada CD as an alternate.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I need to strongly consider purchasing this. I'm not very familiar with his scores for comedies -- I've not even seen this film -- but I do listen to his score for Fierce Creatures fairly often.
|
|
|
|
|
|
I'm actually almost as excited about this release as I was with OBSESSION!
And Steve H.... A few days ago I was telling a friend of mine that "Abandon Ship!" is one of the most joyous, life-affirming, FUN pieces that Goldsmith ever wrote! I just LOVE it! 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
