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There are only 5, aren't there?
King Solomon's Mines
Lionheart
Extreme Prejudice
Rent-a-Cop
Rambo III
Goldsmith recorded more times in Italy than @ MAFilm studios in Budapest.
Alan Snelling is the sound engineer/mixer credited on Rent-a-Cop and I think Mike Ross(-Trevor) did the others.
My understanding is that those recording sessions were sent to U.K. for subsequent editing prior to final mixing with their respective films & album masters.
Perhaps Goldsmith no longer wished to work with Eric Tomlinson after the Supergirl incidents and was willing to record elsewhere, but most likely costs were the primary reason. No U.S.A. musicians' union fees for the music budget to pay when the work was all done overseas.
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Could be.
I had Hoosiers on LP, but never upgraded that with the expanded CD.
Seems as though Goldsmith did not use the National Philharmonic orchestra after Link until Total Recall.
Where was Innerspace recorded? I have no data for this - only that Bruce Botnick was its engineer.
I recall Goldsmith winning a BMI award for keeping work in the U.S. for Poltergeist II, but Jerry continued to record elsewhere.
Melbourne '88 for Warlock
Santa Celilia di Roma '89 for Leviathan
The 'burbs was done in Hollywood.
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Communist nations -- cut-off from the west for decades -- started to open-up more and more in the 1980s (and Hungary was always one of the least-restrictive among those nations to begin with).
Goldsmith preferred recording in London, but Hungary was cheaper than in London, so studios / producers decided it was more cost-effective to record there. Goldsmith had little say in the matter. Plus (as others noted above) Goldsmith was pals with Andrew Vajna -- who was Hungarian -- so there was also that connection too.
Basil Poledouris likewise went to Hungary, for Cherry 2000 and Farewell to the King, as did John Scott for Shogun Mayeda.
Leviathan was shot in Rome, which is most likely the reason the score was recorded there (scores for other DeLaurentiis movies -- the Conan films, Red Sonjia -- were also done in Rome). I assume Melbourne was in the same price range as Budapest, which is why Goldsmith recorded Warlock there.
Germany was also doing a lot of business in the 1980s as a cheaper alternative to London -- Elmer Bernstein went there for Spies Like Us and Marie Ward, as did Maurice Jarre for Enemy Mine and Tai-Pan, John Scott for Man on Fire, The Decievers and Winter People, Georges Delerue for A Show of Force and George Fenton for High Spirits.
As far as I know, James Horner only ever recorded in LA or London in the 80s. Maybe he was just lucky, or maybe he turned-down jobs that would have required him to record on the continent.
John Barry also only recorded in the US and London in the 80s. But his scores in that decade were mostly for films shot in the US, or Bond films (which traditionally were recorded in London -- except Moonraker in '79, because the film was produced in Paris, and Barry was a tax exile at the time and couldn't visit the UK).
Morricone preferred recording in Rome, because it was his home and he'd been working with those musicians for decades.
Williams did not record in Europe because he (and Spielberg) no doubt had the clout to insist on recording in LA. Williams probably could have recorded the Indiana Jones sequels and Empire of the Sun in London, but it seems he preferred to record in LA.
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Posted: |
Jul 17, 2021 - 7:38 PM
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By: |
alexp
(Member)
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Goldsmith preferred recording in London, but Hungary was cheaper than in London, so studios / producers decided it was more cost-effective to record there. Goldsmith had little say in the matter. Plus (as others noted above) Goldsmith was pals with Andrew Vajna -- who was Hungarian -- so there was also that connection too.
How else could Goldsmith afford that beach house.
2020/21: Goonies, Up, HP…Phoenix, Coco, Raiders, It’s a Wonderful Life, SW:ROTJ Raiders, Wonderful Life, SW:ROTJ, Goonies, Up,
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Posted: |
Jul 18, 2021 - 5:34 AM
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By: |
Tall Guy
(Member)
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Goldsmith preferred recording in London, but Hungary was cheaper than in London, so studios / producers decided it was more cost-effective to record there. Goldsmith had little say in the matter. Plus (as others noted above) Goldsmith was pals with Andrew Vajna -- who was Hungarian -- so there was also that connection too.
How else could Goldsmith afford that beach house.
I’ve often wondered how that works. Did/do the producers say to the chosen composer “here’s $100,000 (or whatever), now get us a score“? So if she or he can noodle it out on a Stylophone themselves they get to keep it all, or they might choose a small orchestra and flesh it out with synths, or a cheaper orchestra/venue, or if they think their score worthy of it, they hire the LSO?
I’m sure there’s more to it that that, but in principle is that how it works?
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Isn't this discussion kind of blasphemy on filmscoremonthly
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