If I'd have grown up listening to Goldsmith scores from the 60s, 70s and 80s and heard him give me this (which ended up as The Vanishing) for my film, I'd have shouted NEXT!!! too.
If I'd have grown up listening to Goldsmith scores from the 60s, 70s and 80s and heard him give me this (which ended up as The Vanishing) for my film, I'd have shouted NEXT!!! too.
And maybe that would be your fault for expecting an artist of his caliber to never change or explore something new for themselves. Goldsmith proved himself a thousand times over before 1992, he didn't need to keep writing serial or dissonant compositions to get hired. And he stated in interviews at that time that he was just a different person, he wasn't interested in composing music in the same style he did in earlier decades. He's was a human being, not a film music juke box.
I always find it odd how scores become rejected on the recording stage. Especially in the modern era where composers can mock them up with synths. Score cues are signed off at the mocked up stage. So in theory the director pretty much knew what the thing was going to sound like. Changes should normally be made at the early stages of the process. Apart from the real sound of the orchestra the director would know the score already.
Funnily enough I just watched QUICK CHANGE last night on WB's new blu-ray. Still a wonderfully funny film! But the score, by Randy Edelman, is basically the same cue over and over. So why Howard Franklin would have tossed THE PUBLIC EYE for being "repetitive" is beyond me.
Interestingly too, Franklin directed a sum total of 3 films according to IMDB. And one of those - QUICK CHANGE - was co-directed by Bill Murray. How many films did Goldsmith score since 1991? So if it's a choice between who's musical instincts on this were right I know who I'm more inclined to choose :-)
I must say, though, I've always really liked Mark Isham's replacement score for the movie.
I always find it odd how scores become rejected on the recording stage. Especially in the modern era where composers can mock them up with synths. Score cues are signed off at the mocked up stage. So in theory the director pretty much knew what the thing was going to sound like. Changes should normally be made at the early stages of the process. Apart from the real sound of the orchestra the director would know the score already.
It´s usually due to bad test screenings that either involves some audience members complaining about the score or studio executives who believe with another score the film would test so much better.
Once in a while it is true. CHINATOWN had a score that really saddled the film with an unsatisfying effect - only with Jerry coming in and doing his magic in a short amount of time CHINATOWN blossomed into the masterpiece it needed to be.
90s is something I don't know much I haven't heard this or watched this movie, still today with lots of 90s movies it isn't of interest, but this is the Great-Goldsmith & I'd like too know him better from this period. Well-done Intrada, thanks!
Ms. Birri and I watched this film last night. We both somehow missed it at the time, which is strange, as this is the kind of film we would have been drawn to. I thought it was a really good period piece. Mark Isham's music neither bothered me, nor did it make me want to buy the album.
Joe was pretty restrained, given most of this roles during that era.
Nice to see Shorty Rogers listed in the end credits.
