You guys could do three hundred episodes more on Goldsmith and I would never tire of it. The numerous ways of diving into Jerry's work and exploring its brilliance could take up a lifetime.
Man, I loved the progression of these three episodes. Gremlins: Huh, this is pretty cool. Russia House: Wow, this is something special. The Last Run: Goddamn! This is music!
With all the great films Jerry did,the Rambo films, Poltergeist, Psycho 2,Total Recall, Alien and tons others,my favorite is still Star Trek the Motion Picture. The beginning is so haunting and beautiful and to hear how much Jerry put into that score,his commentary for the Directors Cut is great,it brings a tear to my eye every time. He really captured the feeling of exploring the unknown with that film in a way that some of the other films couldn't quite do. Such a great score that I listen to still to this day.
After listening to all of these and watching your compilation of Jerry's movie themes RU-vid is now recomnending Jerry content regularly. This is by no means a bad thing.
For the past week I've been rediscovering a favorite of my teen years in Goldsmith's _The Mummy._ For a score written so late in his career, he's still dazzling me with his creativity even in his blockbuster endeavors. "Night Boarders" in particular is such a fun listen when you peel away the layers. Edit: Goldsmith was phenomenal throughout his career, but 90s Goldsmith may have been my favorite.
You Gotta Hear This : Episode 5 - Part 3 - Reference List : * Jerry Goldsmith - Music Composer & Conductor - (1929-2004) * The Russian House - Film - 1990 - Dir Fred Schepisi - Music Composer Jerry Goldsmith * Branford Marsalis - Saxophonist - Jazz Composer * Alien Nation - Film - 1988 - Dir Graham Baker - Music Composer Jerry Goldsmith & Curt Sobel * Yamaha DX-7 - Vintage Synthesizer - Manufactured from 1983 to 1989 * Kenny Hall - Music Editor ( Jerry Goldsmith’s M.E among many other great Master Music Composers ) Sadly Passed away in 2006. * Justine - Film - 1969 - Dir George Cukor - Music Composer Jerry Goldsmith - Music Editor Kenneth Hall * John Williams - Music Composer * John Berry - Music Composer * Patton : Lust for Glory - Film - 1970 - Dir Franklin J Schaffner - Music Composer Jerry Goldsmith * The Beatles Anthology - Multimedia Retrospective Project - 1995 * Sting - Bring on the Night - Live Album - 1986 * Kenneth David Kirkland - Pianist - Keyboardist - (1955-1998) * Branford Marsalis - Saxophonist - Jazz Composer * Omar Hakim - Drummer, Producer, Arranger and Composer * Sting - Fortress Around your Heart - 1985 * La-La Land Records * Echoplex - 1959 - Mike Battle * Gremlins - Film - 1984 - Dir Joe Dante - Music Composer Jerry Goldsmith * The Burbs - Film - 1989 - Dir Joe Dante - Music Composer Jerry Goldsmith * Franklin James Schaffner - Film, Tv and Stage Director - (1920-1989) * The Stripper - Film - 1963 - Dir Franklin J Schaffner - Music Composer Jerry Goldsmith * Planet of The Apes Film - 1968 - Dir Franklin J Schaffer - Music Composer Jerry Goldsmith * Papillon - Film - 1973 - Dir Franklin J Schaffer - Music Composer Jerry Goldsmith * Island in the Stream - Film - 1977 - Dir Franklin J Schaffer - Music Composer Jerry Goldsmith * Lionheart - Film 1987 - Dir Franklin J Schaffer - Music Composer Jerry Goldsmith * William Friedkin - Director, Producer Screenwriter * George C. Scott - American Actor, Director and Producer (1927-1999) * The Wind and the Lion - Film - 1975 - Dir John Millius - Music Composer Jerry Goldsmith * The Omen - Film - 1976 - Dir Richard Donner - Music Composer Jerry Goldsmith ( Best Original Score Oscar Winner 1977 ! ) * The Boys from Brazil - Film - 1978 - Dir Franklin J Schaffer - Music Composer Jerry Goldsmith * Gregory Peck - American Actor (1916-2003) * Laurence Olivier - English Actor and Director (1907-1989) * Brett Ratner - American Director and Producer * J.K Simmons - American Actor * Whiplash - Film - 2014 - Dir Damien Chazelle - Music Composer Justin Herwitz * Mulan - Feature Animation Film - 1998 - Dir Barry Cook & Tony Bancroft - Music Composer Jerry Goldsmith * Silverado - Film - 1985 - Dir & Prod Lawrence Kasdan - Music Composer Bruce Broughton * Tombstone - Film - 1993 - Dir George P. Cosmatos - Music Composer Bruce Broughton * Val Kilmer - American Actor * Dana Welles Delany - American Actress * Val - Documentary - 2021 - Dir Leo Scott & Ting Poo - Music Composer Garth Stevenson * Rogue One - Film - 2016 - Dir Gareth Edwards - Music Composer John Williams and Michael Giacchino * Top Gun - Film - 1986 - Dir Tony Scott - Music Composers Harold Faltermeyer & Giorgio Moroder * Under Fire - Film - 1983 - Dir Roger Spottiswoode - Music Composer Jerry Goldsmith * The Right Stuff - Film - 1983 - Dir Philip Kaufman- Music Composer Bill Conti * Jaws - Film - 1975 - Dir Steven Spielberg - Music Composer John Williams * Il Postino - Film - 1994 - Dir Michael Radford - Music Composer Luis Enriquez Bacalov * Braveheart - Film - 1995 - Dir Mel Gibson - Music Composer James Horner * Love Story - Film 1970 - Dir Arthur Hiller - Music Composer Francis Lai * The Beauty and the Beast - Animated Feature Film - 1991 - Dir Gary Trousdale & Kirk Wise - Music Composer Alan Menken * Basics Instincts - Film - 1992 - Dir Paul Verhoeven - Music Composer Jerry Goldsmith * Château Marmont - Hotel - Sunset Boulevard West Hollywood * The last Run - Film - 1971 - Dir Richard Fleischer - Music Composer Jerry Goldsmith * Billy Joel - American Musician Songwriter and Composer Hope this will help all passionate people around to track back some of the references from the massive batch of culture and inspiring people and creations evoked throughout the episode. I guess l m watching Tombstone tonight ! Can’t wait for Part 4 ! Thanks a lot for sharing ! Take care :)
I'd never heard that story about "that cue" from Mulan before but it makes total sense. First time I heard the cue I just couldn't get over how incongruous it was with the rest of the score and how instantly dated it sounded. I watched the movie with my kids recently and felt the exact same way hearing it in context. It is absolutely grating and just sucks you right out of the film. Makes me appreciate Goldsmith all the more knowing he felt the exact same way when he was forced into writing it that way at the time.
@@philmen32 I think they're talking about where she cuts her hair and you get that synth track. It's called Haircut or Mulan's Decision I think it changes depending on your country. It's very out of place but I inject synth anything directly into my veins so it's actually one of my favourites in the movie lmao. You can also find Goldsmith's intended version on RU-vid if you want to compare.
@@Jockolantern yes I have found it and listened to it. I had never noticed it before but as soon as I heard it this time I knew what Austin was talking about.
My friends now have you to thank for me bringing up Jerry Goldsmith every possible chance I get, haha. He's like an endless treasure trove that I somehow have just begun to fully discover. Thank you!
This is a beautiful show. I am a casual working musician who could never relate to this side of the music world. Listening to your show makes me feel like I’ve been given a warm embrace and invitation into this world. It is a pleasure and a joy to listen to you both!
Oh man you guys were onto some absolute magic during the tangent at 43:00 Love that you two allow each other the time to contemplate and work through what it is each other are hearing, and imagining all at once. Real friendship there!
I think there's a load of us out there are really glad you guys are doing this. long may it continue, look forward to the Hans Zimmer - how he got to Gladiator episode, HZ the superstar today is a far cry from HZ the 90's film composer who actually had some beautiful scores, (just listen to Backdraft everyone all the way through in one sitting).before he got tired of everyone ripping him off, so decided to take scores back to tone, feeling and rhythm. (with a few recent Genius exceptions).
as an aside so that I practice what I preach - just played the score of Backdraft all the way through, blasting out of my 5:1 sound system, still gives me Goosebumps, :)
Please do a billion of these episodes. It is my mental health sessions every week. Is there a place in Spotify where I can listen to all of Austin’s recommendations and song discussions? I would play it 24/7. Thank you both for this.
I've got to admit, as incongruous as /that/ Mulan cue always feels compared to the rest of the score, it always instantly triggers in me that 80s / early 90s action hero nostalgia. As an aside, the Last Run has made it to my current playlist because of this ep.
The Kenny Hall story sounds so similar to my previous boss and friend of mine who started having some back pain and then two months later died of pancreatic cancer. He was only 51. I’m hoping you will one day get to Jerry’s more traditional epic dramatic scores like Rudy and Powder, I love those so much. Also, Medicine Man 😁
Very nice, just listened to it. I feel like Powder is a absolutely beautiful theme that has been mostly forgotten because the movie didn’t do very well and has been forgotten. Much like many of Jerry’s scores sadly.
I've always liked the score to Legend. Particularly, the Darkness theme. The making of that movie is hilarious. There were a few reasons why Ridley Scott cut Goldsmith's score from the US version originally, in favor of T'Dreams score, but I always proffered Jerry's score. Mainly bc, he was able to tap into that Grim's fairytale tone better than T'Dream. Plus, it doesn't date the film like T'Dreams score does. And Jerry was a bit butt hurt, bc he was proud of the Legend score, so he confessed in an interview that movies he scored after this like Sleeping with the Enemy has some of the Legend score sprinkled throughout its score.
I greatly look forward to these lemme tell ya haha! It’s awesome to see fellow film/film score geeks very excitingly and passionately talking about this stuff! 😁
Hearing you discuss Goldsmith's "The Boys from Brazil" score has me now wondering what sort of conventions composers like him and others have deliberately broken in terms of building music around a particular type of scene. I'd imagine it's the case that many will think "Chase sequence? Alright, this needs to be fast and suspenseful." or "Two lovers are reunited in the third act, we need a ballad with soft strings." Besides approaching similar ideas with different instruments, I'd be curious to know what ways composers have rejected tried and true formulas of setting the Tone/Mood of a scene in favor of attempting to completely reinvent the way a particular scene is scored altogether. Are there chase sequences where the composer made music that wasn't pulse-pounding? Or a hero/villain standoff where the hero's victory theme sounded ominous instead of hopeful, or even romantic? Thank you for another awesome episode of this series, and I hope you're well!
Goldsmith used to say that Schaffer suggested to him to "think three-fourths" and Goldsmith immediately knew what Schaffer wanted for the score to The Boys From Brazil.
That intro piece from "the Boys from Brazil" kinda reminds me of the scene in the Austrian Sissi musical where Death personified dances with Sissi at her wedding, but she's not doing it out of her own volition, instead she's being puppeteered by him - which is probably a weird connection to make ^^', but this one would have fitted that scene as well. The piece from that musical goes off a lot faster and is more on the nose than this...
Not sure if anyone's commented this yet but Laurence Olivier's character in The Boys From Brazil is based on a real-life Nazi hunter named Simon Weisenthal, who is partially responsible for locating/capturing Adolf Eichmann in Buenos Aires. Huge badass.
Why does the last run tune especially in the beginning sound so familiar? Even when he played the beginning part of the score, I swear something very nostalgic about the music. Never watched the film though
I feel this is an appropriate question (since you mentioned Silvestri in the video), but I’ve been wanting to know what your feelings are on Goldsmith’s The Mummy vs Silvestri’s Returns? Both harken back to the romantic era of film scoring, but they are also very idiosyncratic to each composer. Both scores are great and different in their own right, but what do you think of these «twin» scores? Perhaps this could be its own video?
I had no problem with Robert Mitchum's narration at the beginning of Tombstone. "One of the first examples in the United States of organized crimes" stuck with me, and how else would the movie be able to communicate that? Plus, oddly, it gives context to the way Robert Ryan plays Ike Clanton in Hour of the Gun.
see, this is why i have 5000 pages of random stuff i wrote lying around. someone might enjoy it when i am long gone. just to be clear. most of it is archived in boxes, the rest is digitalized. i am not a monster.
I’ve been digging through these episodes to see if you guys talk about goldsmith’s rejected score to alien nation, I’m glad you do here. Are there any other episodes that where you talk about it?
The biggest fail of the Oscars in my opinion is that Jerry Goldsmith did not win for Star Trek: The Motion Picture. Let alone that he was snubbed and robbed way too many times anyway sadly...
I definitely think Star Trek was the best score of 1979. In the long run, though, Georges Delerue, who is one of my greatest influences of all time, would never have received the award any other way. Jerry's, without doubt, the better composer, but he at least already had an Oscar for The Omen, so _that one time_ I would have let Georges win (it was for A Little Romance). On just about any other occasion, though, I would have given it to Jerry. Like John Williams, Bernard Herrmann, Elmer Bernstein, and Ennio Morricone, Jerry Goldsmith was just someone who never, _ever_ missed the mark.
@@ColinRylanderWilkes Fair enough. I still would’ve picked Dun Tan for Crouching Tiger, Hidden Dragon over that score, though (this time based on which score I think is better). Same goes with or Ennio Morricone for Malena (thanks Austin Wintory for helping to show me why).
In the Ridley Scott film Kingdom Of Heaven, during Balian's end 'rise a knight' speech, the score is quite obviously that of Goldsmith's from The 13th Warrior. Just wondering if that would be a temp track during editing that was overlooked? Or if not, how they got away with it as Kingdom is by 20th Century Fox and 13th Warrior was Touchstone Pictures before Disney bought Fox...but also, WHY? It's great music, but stands out like a sore thumb from the rest of the score by Harry Gregson Wiliams. I'd love to hear your thoughts or insight on this if you're able or willing to share. Many thanks :)
@@awintory but why license it? Why not get Gregson Williams to knock out something original? It takes me out the film every time (and makes me pine for Goldsmith to be honest)
Too bad the years of Covid didn't really spark a great amount of quality efforts. Instead it allowed DEI nonsense to infect Hollywood even more and start to burn it down around our ears. And speaking of great collaborative efforts like Williams and Spielberg the works of director Mamouro Oshii and composer Kenji Kawai is right up there with the best. Their work on Patlabor 2 and Ghost in the Shell is astounding. Oshii himself said that he would have trouble making a film without Kawai. It would be interesting to see you both react to those scores.
COVID, like all chapters, brought a mixed bag of quality. I'm not sure I'd generalize like in your comment. I mean, COVID also brought us ANDOR, TLOU on HBO and innumerable great games!
@@awintory the drawing behind you on your note pad!! It’s like a little guy or something thing. It’s only visible when you’re not in front of the piano. It’s the note pad on the piano, where you put the sheet music
So, I'm currently in Hong Kong. Any idea on how to acquire the soundtrack to The Last Run? Physical, digital, doesn't really matter to me. I just don't have a record player so vinyl is hard. I really want to study and listen to these gorgeous scores you bring up and I'm not entirely sure where to look.
