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I have never seen the film, but I adore the score and would buy a an expanded Deluxe Edition in an instant!
Yavar
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A pair of very talented friends of mine wrote the script (they also wrote the Bill & Ted movies) which I assume was much better than the final film. They also said that Lovitz was really hysterical in the script read through.
I've always loved that score, which put me in a great mood during a lousy week when the film came out (lousier for the studio, of course).
If nothing else, it has one of the few "funny" movie titles that to me is actually funny.
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Very sad to read all that.
The end result is just near unbereable, cannot even be considerated trash-funny stuff...
Is the Snyder Cut of that film available? ROFL!
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Conversely, another friend played one of the husbands in the comedy Stepford Wives remake, and found Lovitz painfully unfunny.
I met him once, and I'm probably the only person who ever asked him what it was like working with director Sondra Locke (Lovitz had a very brief scene in Ratboy).
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There it is. Yavar buys film score music even if he hasn't seen the film.
Of course! In fact it's probably three quarters of my film music collection, to be honest. 
Yavar
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Posted: |
Jun 26, 2020 - 12:28 AM
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By: |
ian642002
(Member)
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I think Goldsmith was his own worst enemy at times. He clearly loved doing what he did and sounds like he would jump at anything at times. Strange when you think he made a concerted effort to work on better movies after Leviathan and changed agents and said no to a lot of assignments until something like the Russia House came along. But it wasn’t long before he was back scoring oddities like this or movies that clearly had little future. I actually find it stranger that a film like this had budget to get Goldsmith in the first place. He was one of the highest paid so how a B movie like this could afford him I will never know.
I agree wholeheartedly. Goldsmith may not have been a household word in mainstream film music like John Williams, but he did have the experience, expertise and talent of any top-ranking figure in the movie industry and, quite possibly, the power to back this up, so his wayward streak in the mid to latter-end of the 80's was puzzling. I think his work ethic also contributed to focusing on output instead of quality of project, he worked fantastically hard but his eye for a picture that, say, was an Oscar front-runner (and he was more than capable of being part of more than one of these projects) was seemingly put aside for the cinematic opuses of BWL Norton, Greg Beeman and J Lee Thompson. It was a period in his career that almost seem to say to A-list directors 'nah, find someone else, I'm busy.'
I know it's all moot now, but if Goldsmith had taken his foot off the 'I'll score anything that moves' pedal, stepped back and just looked at better films (and directors) that could've benefitted from a talent that didn't have to shovel so many notes into crap features in order to improve them, then we could be having markedly different discussions.
Anyway....
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Posted: |
Jun 26, 2020 - 7:02 AM
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By: |
connorb93
(Member)
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I think Goldsmith was his own worst enemy at times. He clearly loved doing what he did and sounds like he would jump at anything at times. Strange when you think he made a concerted effort to work on better movies after Leviathan and changed agents and said no to a lot of assignments until something like the Russia House came along. But it wasn’t long before he was back scoring oddities like this or movies that clearly had little future. I actually find it stranger that a film like this had budget to get Goldsmith in the first place. He was one of the highest paid so how a B movie like this could afford him I will never know.
I agree wholeheartedly. Goldsmith may not have been a household word in mainstream film music like John Williams, but he did have the experience, expertise and talent of any top-ranking figure in the movie industry and, quite possibly, the power to back this up, so his wayward streak in the mid to latter-end of the 80's was puzzling. I think his work ethic also contributed to focusing on output instead of quality of project, he worked fantastically hard but his eye for a picture that, say, was an Oscar front-runner (and he was more than capable of being part of more than one of these projects) was seemingly put aside for the cinematic opuses of BWL Norton, Greg Beeman and J Lee Thompson. It was a period in his career that almost seem to say to A-list directors 'nah, find someone else, I'm busy.'
I know it's all moot now, but if Goldsmith had taken his foot off the 'I'll score anything that moves' pedal, stepped back and just looked at better films (and directors) that could've benefitted from a talent that didn't have to shovel so many notes into crap features in order to improve them, then we could be having markedly different discussions.
Anyway....
I think a lot of it had to do with loyalty to collaborators as well. He missed out on a few more high profile, well-received projects because he ended up on a project with someone he worked with before. He was asked to do A American Tail and couldn't because he was working on Link or Poltergeist II for producers/directors he'd worked with before.
And then there's just plain bad luck. Scheduling conflicts of course, but there's also health problems or projects that fall through, etc. I think Jerry often got a raw deal with choosing assignments, it seems like maybe the people who really wanted him weren't making the best movies, plain and simple.
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