Wondering why he turned down "The Mummy Returns" ?? Look no further than the Apes. Don't suspect the new score will be a rehash of the original one. I'm speculating a lot here, but I think, while it will contain elements from the original score, it will also incorporate a plethora of "updates" and new work. Most excellent.

I'm so excited!
Jeron

For humorous purposes, I have kept the original text intact... though I feel it necessary to add a couple critical notes:

• Elfman will be scoring Burton's "Planet of the Apes." Goldsmith will not be involved.
  
• Yes, I've made a complete fool of myself.
  
• I'm 19 years old! I am still learning when and when I should not open my mouth! After this (and all the private correspondence I've been receiving), I think I've learned quite a bit!

Okay, maybe not "sucks" but I'd prefer Elfman to score it. Goldsmith has already scored Planet of the Apes so whats to say that he won't just re-hash old material?
Im not saying he will, but it is possible.

Frankly, I'm disappointed. I was hoping for another Elfman score with lots of character.

-Why would Burton break his partnership with Elfman? I know he did it with Ed Wood- but those two are good friends. I find it hard to believe that Elfman would be ditched in favor of Goldsmith.

-I have the utmost respect towards Jerry Goldsmith, and I know I'll get majorly flamed for this, but I think Goldsmith is too old to write a score like Planet of the Apes. I can't recall him writing anything over the last 15 years that's as complex and unique as that score- not even Total Recall is as complex and wild as POTA.

-Goldsmith hated The Mummy. That's why he's not doing the sequel. Alan Silvestri has been confirmed for months. If POTA was the real reason why Goldsmith dropped out, wouldn't we all have found out about this a long time ago?

My 1 cent. (The other cent might come later!)

Yeeeeehawww!

This project is far off from that quiet subtle score that I'd been waiting for Jerry to do, but after hearing Hollow Man, I know he'll be able to successfully dive back into unconventional, complex writing.

Jeron, facts please.

"I just received word from a friend who knows w/ good reason that maestro Goldsmith will be scoring Burton's remake."

WAAAY TOO VAGUE, fella. Transluscent. Insubstantial.

WHO, WHAT, WHEN, WHERE, WHY?

Any news journalist worth two cents must answer those five imperatives. If you aren't able to do so, then this entire thread is nothing more than a lot of stinking hot air.

1.Money
2.Since producer Richard Zanuck has known Goldsmith since his days as the head of 20th Century-Fox it would only be fitting that Goldsmith himself would be the "chosen" one to rescore this update.
3.The storyline itself since after all it is an update and fresh take of Rod Serling's and Michael Wilson's material that would bring major changes and would necesitate something fresh and original.
4.Goldsmith probably listened to his original landmark score and thought bout even more ideas what he's capable of doing with the score this time around than say 32 years ago.
5.Maybe even Tim Burton requested him or was intrigued by the idea of working with Goldsmith that has interested him a ton.

quote:

---

Originally posted by Chris Kinsinger:
I truly dislike having my chain jerked...

Jeron, facts please.

WAAAY TOO VAGUE, fella. Transluscent. Insubstantial.

WHO, WHAT, WHEN, WHERE, WHY?

Any news journalist worth two cents must answer those five imperatives. If you aren't able to do so, then this entire thread is nothing more than a lot of stinking hot air.

---

1) I don't jerk people's chains. That's a nasty business...
2) Facts? This is a rumor mill, Chris. Gimme a break.
3) WHO, WHAT, WHEN, WHERE, WHY? I'm not a journalist, Chris. My post is in no formal format.

The only excuse I can offer you is that I'm a GOLDSMITH FREAK. Hey, wait a sec... there's a fact right there. Who? Jeron... What? Me... When? Now... Where? Here... Why? Cause I can't help it. WOW, I guess I am a journalist, huh?

Chill man, chill.......
Jeronimo
Father of Controversy (since when?!)

here's a balloon...

here's a pin...

Matt

Jeron

The plain truth of the matter is that Jerry Goldsmith could deftly score another POTA with both batons tied behind his back.

Danny Elfman is totally capable of scoring a film like this. Danny Elfmans' scores fit the films and work! He does not always need to write an orchestral fantasy for every film. He chooses instrumentation that works! I agree with Hard Target about Sleepy Hollow. Sleepy Hollow is a tremendous score with very complex and dense textures.

I hope Elfman gets to score this film. If he doesn't though, Goldsmith is a fine choice.

P.S: Goldsmith is not too old to score a film like this. He is one of the greatest composers alive and he has not lost anything with age.

Aaron Collins

NP: Hollow Man

Someone as deeply familiar with film history and its icons as Burton might well make overtures towards Goldsmith. Would Goldsmith take it? MAYBE, since based on the synopses I've read, this is a VERY different kind of APES movie. Goldsmith might be attracted to it because it would be a rare recent assignment that allows him to write abstractly ... first time since TOTAL RECALL, I think (and I'd expect the resulting score to sound a bit like that and a bit like APES.)

I've never met Jeron's source (never had even heard the name before), but this seems to be someone who's in a position to know people who know things. We'll see if evidence mounts. It's a pretty wild rumor, but not one I'll count out completely for the moment (if only because I'd rather like to see it happen.)

quote:

---

Originally posted by Aaron Collins:
P.S: Goldsmith is not too old to score a film like this. He is one of the greatest composers alive and he has not lost anything with age.

---

I strongly disagree. His atonal experimental phase is long gone. Got any proof that Goldsmith can write a score like POTA today?
He IS a legend. And he still has lots of life in his bones, but please, don't kid yourself.

Also, I've heard from sources who have heard from other sources since this rumor has been posted that Elfman has in fact signed to score Burton's POTA AND will be recording it in April...

Tim

Just for the record, check out my Filmus-L post. I'm not too keen on the thought of this sort of thing spreading throughout the film music community as a punch against me. Hope I set the record straight.

Jeron

quote:

---

Originally posted by Tim_P:
His atonal experimental phase is long gone. Got any proof that Goldsmith can write a score like POTA today?
/B]

---

It's not whether Goldsmith can any longer write in this mode but whether modern Hollywood would ask or even allow him to. When was the last time you heard a convincing atonal score of any kind from anyone in Hollywood. The closest I can come is Goldenthal for Alien3 and maybe parts of The Lost World. But nothing as purely Avant Garde as the original Apes score.

The year was 1999. The score was The Matrix.

Experimental music is still alive and well via composers like Don Davis, Elliot Goldenthal, Mychael Danna, etc.

The reason why you don't hear more atonal and experimental music in the movies is because there's more Trevor Rabins than there are Elliot Goldenthals in the industry.

Tim

I mean, look at the sort of film "The Matrix" was (aside from crap), it was something different, and something different required a different score. If you look at the sort of films Goldenthal tends to score, I'd maybe describe them as semi-art house, they require a certain style of score and Goldenthal provides it.
So is it not more of the case of the studios/directors saying "which composer can we get to provide the correct underscore for the film we're making?"

Jeron