I don't know how to answer your question!

OK.

"The Hunt" from Planet Of The Apes best personifies Goldsmith's style. He accompanies wild action by appropriating a variety of instruments to become one with the percussion, and then introduces an alien sound (the Shofar!) to accentuate the terror!

If I had to pick one film score that would most represent his style (even though it changes so often), I would pick his score for The Twilight Zone Movie. There you have one of his most tear-jerking melodies, some of his suspense music, and one of his most rousing action/horror pieces. Sure, it won't even come close to representing the full genius that is Goldsmith, but it does represent his talents nicely.

Really tough topic. Because how can you mention Twilight Zone without mentioning Papillon? And how can one mention Papillon and not Rudy? It could go on and on...

quote:

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Originally posted by JJH:
"Bajo Fuego" from Under Fire, perhaps?

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My favourite track from the Essential Goldsmith compilation. I'm too lazy to dig out my FSM Goldsmith Guide right now - is the original score still available?

NP: Essential Goldsmith

quote:

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Originally posted by Marian Schedenig:
My favourite track from the Essential Goldsmith compilation. I'm too lazy to dig out my FSM Goldsmith Guide right now - is the original score still available?

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Anyway, I would go with Rudy (since atonal seems to be out these days).

Enough said, getting back to Bach...

ATTN: AL, LONELY GUY

I have wondered this myself a few times, and another topic gave me the idea to use the closed captioning feature. I do not have the movie myself, but maybe it would work?

Scott,

Good to know there are still Cocaholics out there and that the whole population is not going in the way of the Pepsi!

"Bajo Fuego" keeps coming up, and that one certainly shows off a lot of his range. Although that one doesn't appear in the film at all.

Now I'm thinking of the opening of THE FINAL CONFLICT, with its shift from the brooding "mortuorum/versus Christus" theme to the inspirational music for the monks who will oppose Damien.

And now I'm thinking this is simply an impossible question.

From THE SECRET OF N.I.M.H., one of my favorites by Goldsmith ...

1) Main Title - MELODIC
2) Moving Day - ACTION
3) The House Raising - ACTION / MELODIC

I shall watch the movie again in the near future.

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Originally posted by Timmer:
Having seen the film recently, I'd say the album for Under Fire is a re-recording!

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Hmm... if it is a re-recording, why doesn't some record company pick it up and say "Hey, there is money to be made here. There must be sufficient demand if the album is going for $250 a pop on the collectors market."

I'm not taking into consideration all the legal crap, though

Goldsmith restructured all those scores for album purposes; this included writing or rewriting original cues such as "Bajo Fuego" and others not heard in, e.g., the final film version of UNDER FIRE.

The only competitor was "It's a Good Life" from Twilight Zone: The Movie, which I've decided should be a tie for me. It has one of those lovely eerie melodies I tend only to find in Mr. Goldsmith's music (similarly done in "The Monument" from Logan's Run, and in much of ST:TMP and Poltergeist). It also has Wacky Noises, which could be said to hearken back to Planet of the Apes' salad bowls and forward to The Burbs' sampled dogs and such. And strings? Does anyone use them more lavishly, and has he ever done more so than at the end of this cue? (okay, arguably yes to both, but I'm making a point)