Check out the Goldsmith Odyssey podcast they are going by chronological order through Jerry Goldsmith's entire catalogue. They have also interviewed a number of people close to Goldsmith.
My all-time favorite score by Goldsmith, and one of my all-time favorite scores period, is The Mummy! It made me sad when I found out that Goldsmith hated working on the movie because man that score is just pure immaculate and amazing...to me anyway haha. Goldsmith was such a versatile composer!
"It's not fair! You shouldn't know that...". That's just about my thinking almost every time Austin opens his mouth! How do you have all this knowledge at the ready? I mean, you don't even have to think about it for a second!
I'm posting before watching so it's likely unrelated, but I've been working my way through John Williams and everyone should listen to Memoirs of a Geisha if they haven't heard it. Wow! Yo-Yo-Ma on Cello, Perlman on violin. A new all-time favorite.
I love listening to you talk about Goldsmith and I love the respect you give him. He was my all-time favorite composer and, my belief, was a master of every single genre of score he touched. One of the coolest, most serpentine themes I've ever heard is his main title from Magic.
Theatre Escape sounded very much like the score to US Marshals to me. I was incorrect but sure enough he scored US Marshals too. My ear is evolving. Loving the work folks.
"at what point does a composer become a director?" that sums it up perfectly, for me. the impact of music (or deliberate lack thereof, as we learned in the episode about castaway) can never be stressed enough. When i rewatched Bladerunner 2049 - my favourite sequel - again (and again) i finally came to realize that all the pictures, the actors and the story are the (albeit great) carpet for the real transformative substance, the damn perfect soundtrack.
I always believed that in another multiverse, Jerry Goldsmith is still alive and well and continues to score movies and received his due and well deserved recognition.
I love when Troy asks who scored Silverado and I have the answer just as quickly as Austin did. We film score fans know that shit like the back of our hands, Troy. ;)
There was a very nice feature by the LSO recently on RUclips where they talked about their colaboration with John Williams. Including the former principal horn player who got to play "Princess Leia's Theme" for the first time after a long recording session. And telling how the entire horn section realized that this was one of the great horn moments in the repertoire, akin to the opening of the second movement of the Tchaikovsky 5. They said that the reason the score for "TESB" is written like the way it is, is that John Williams knew the players in the orchestra, and their tone and abilities. So he wrote a score that would play to their strengths, and be especially demanding because he knew they were up for it. Here it is, if anyone wants to watch it: ruclips.net/video/hhwQoyFXsuk/видео.html
I absolutely loved your comments about Jerry's westerns being different from Bernstein and Morricone! I like how most of his western themes are in minor keys (unlike Bernstein!), yet they don't sound at all like Morricone imitations.
Been a Goldsmith fan for more than 25 years so it's wonderful to hear you guys talking about him. Austin, if you're reading this, how about an episode on Indiana Jones and the Temple of Doom, easily one of my favorite John Williams scores, just so insanely complex
The Battle of Hoth amounts to almost 15 minutes of mostly unbroken music. When the live-to-picture presentation of the score was done in Indianapolis, the already pretty responsive audience applauded at the end of that sequence, and it was not for Luke & co. flying away in escape. It was 100% for the symphony's tour de force, 15 minute stretch of the most active music they would play all night. There were some surprised and appreciative smiles among the cellists and bassists, which was charming to see. This sequence of music, kept together as a single cue, is well seated in Williams' Best Adventure Cues (or Action Scenes) category with The Battle of Yavin and Desert Chase. - David
Richard Donner worked with some great talent, Jerry Goldsmith on The Omen, John Williams on Superman and Dave Grusin on Goonies, funny thing is, these composers all knew eachother and had offices next to eachother in the 60s at CBS.
I LOVE "Silverado" -That and "Back To The Future" are THE film scores got me into soundtracks. (I have a signed copy of Intrada's first CD expansion and an unsigned copy of the 2-CD expansion.)
How many movies have I discovered because of your podcast... and how many are still in my watchning cue! Thank you sincerely for sharing these wonderful conversations with us.
I honestly think that Jerry Goldsmith would have done a great job on Schindler's list had John Williams not been available, his music for QB VII is still one of my favourite scores of his
I'd also say that Goldsmith's musical structure is closer to that of Bernard Herrmann's than anyone else, his symphonic writing in the late 70s and 80s was closer to John Williams but the structure of his music is very similar to that of Bernard Herrmann.
Silverado, Tombstone.... and Lost In Space for Broughton. But the latter has a lot of Don Davis in it. It's glorious. Deserves to be one of the classic sci-fi scores. Because it is.
@Jandreiz The Boy Who Could Fly is such a nice, warm score. It's just great! Although I feel like it must've been temped with E.T. or Superman... it feels very Williamsy (in a good way, but super obvious).
Austin maybe you know: In Denmark, Gremlins 2 theme is also used in Troldspejlet theme on DR (public TV station) from 1989 - Geek / nerd TV program about movies, video games, books etc. - 18 august the host Jakob stegelmann holds a Symphony Orchestra concert (DR Symphony Orchestra/DR Koncerthuset) - Called Galaxymphony - theme from space movies - star trek, star wars, 2001: a space odyssey, Alien and avatar etc. Am looking forward to it. How he got licensed for it, I would think is because it is public TV station.
This show is always amazing...though I did have to pause at the Battle of Hoth part to go listen to that and...wow, it covers *so* many things going on in the battle and you can just follow along in your head by what the music is doing so clearly, man I love John Williams.
I got Gremlins! Cause it was one of my favourite childhood movies. I even had the comic book based on the storyboard. I also thought of naming a dog Gizmo for real once.
Next, you should introduce Troy to the super synth-heavy Goldsmith scores and see what he makes of stuff like Logan's Run, Runaway, Alien Nation, The Vanishing or The Reincarnation of Peter Proud. Or, perhaps, give him a taste of something sublime but relatively unknown like The Challenge, Magic, The Illustrated Man or The Red Pony. He'll only want to hear more.
God damn, the Star Trek Nemesis score is fucking incredible. So underappreciated. Certainly the score which feels like his grand finale, though I do love his rejected Timeline score.
Ausin:Talks about Looney Tunes: Back in Action, Me:Hmmm, how did i never know that, Internet: Varese Sarabande, new digital album to buy, Me: Don't mind if i do.
Ha the Gremlin rag.. love the quote in that track Austin played. I actually never bought it but as soon as he played the track and I heard the quote I knew it.
You Gotta Hear This : Episode 5 - Part 1 - Reference List : * Richard Donner - Film Director and Producer - 1930-2021 * Jerry Goldsmith - Musical Composer & Conductor - 1929-2004 * Superman - Film - 1978 - Dir Richard Donner - Music Composer John Williams * The Omen - Film - 1976 - Dir Richard Donner - Music Composer Jerry Goldsmith * The Goonies - Film - 1985 - Dir Richard Donner - Music Composer Dave Grusin * Looney Tunes : Back in Action - Film - 2003 - Dir Joe Dante - Music Composer Jerry Goldsmith ( Final Score ) & John Debney * Timeline - Film - 2003 - Dir Richard Donner - Music Composer Jerry Goldsmith & Brian Tyler * Sphere - Novel - 1987 - Written by Michael Crichton * Sphere - Film - 1998 - Dir Barry Levinson - Music Composer Elliot Goldenthal * Jurassic Park - Novel - 1990 - Written by Michael Crichton * Jurassic Park - Film - 1993 - Dir Steven Spielberg - Music Composer John Williams * Star Trek Nemesis - Film - 2002 - Dir Stuart Baird - Music Composer Jerry Goldsmith * Independence Day - Film - 1996 - Dir Roland Emmerich - Music Composer David Arnold * Men in Black - Film - 1997 - Dir Barry Sonnenfeld - Music Composer Danny Elfman * The Matrix - Film -1999 - Dir The Wachowskis - Music Composer Don Davis * Gladiator - Film - 2000 - Dir Ridley Scott - Music Composer Hans Zimmer * The Mask of Zorro - Film - 1998 - Dir Martin Campbell - Music Composer James Horner * Family Guy - Animated Tv Show - 1999 - Created by Seth McFarlane - Musical Composers Ron Jones & Walter Murphy * Pee-Wee’s Big Adventure - Film - 1985 - Dir Tim Burton - Music Composer Danny Elfman * Batteries Not Included - Film - 1987 - Dir Matthew Robbins - Music Composer James Horner * Ennio Morricone - Musician, Music Composer, Producer and Conductor - 1928-2020 * Elmer Bernstein - Music Composer - 1922-2004 * Aaron Copland - Music Composer, Teacher, Writer and Conductor - 1900-1990 * Silverado - Film - 1985 - Dir & Prod Lawrence Kasdan - Music Composer Bruce Broughton * Tombstone - Film - 1993 - Dir George P. Cosmatos - Music Composer Bruce Broughton * The Quick and the Dead - Film - 1995 - Dir Sam Raimi - Music Composer Alan Silvestri * Unforgiven - Film - 1992 - Dir Clint Eastwood - Music Composer Lennie Niehaus * Belinda Broughton - Violinists * The Empire Strikes Back - Film - 1980 - Dir Irvin Kershner - Music Composer John Williams * Wild Rovers - Film - 1971 - Dir Blake Edwards - Music Composer Jerry Goldsmith * Gremlins - Film - 1984 - Dir Joe Dante - Music Composer Jerry Goldsmith * Twilight Zone The movie - 1983 - Dir John Landis, Steven Spielberg, Joe Dante, George Miller - Music Composer Jerry Goldsmith * First Knight - Film 1995 - Dir Jerry Zucker - Music Composer Jerry Goldsmith * Brass / Winds / Strings / Percussion / Voice / Electronic ( processing recorded sounds and generated sounds ) * The Sum of all Fears - 2002 - Dir Phil Alden Robinson - Music Composer Jerry Goldsmith * Paul Williams - Songwriter * Sneakers - Film - 1992 - Dir Phil Alden Robinson - Music Composer James Horner * Michael Giacchino - Music Composer - * Lost - Tv Show - 2004 - Created by Jeffrey Lieber, J.J Abrams and Damon Lindelof * The Battle in the Snow - John Williams - London Symphonic Orchestra Thanks for the Great Episode ! Take Care.
Speaking of Westerns I just have two words for you, Lonesome Dove. I know it’s not a movie, but it is “the” western in my opinion. The score is fabulous as well by Basil Poledouris.
I’d love to have a Cola and a Mcwilliams. Would be a delightful breakfast. Edit: I love the lightning fast response from you, Austin, at 23:40 My thoughts were identical to Troy’s xD
Similar here: First DVD ever watched Gladiator, first DVD ever bought Matrix. And when the time came these two were my fist ever BluRay buys, also. Fun fact: One of the main reasons for the very energetic Matrix score was the involvement of Juno Reactor, who also worked on the great electronic Mortal Kombat OST.
Funny enough, Brian Tyler also has composed some great scores for terrible movies... including TIMELINE. Also, on the topic of the Aria for the opening of The Sum of All Fears, I remember having a similar reaction to Mr. Baker learning it was an original composition when I hear the score of All the Money in the World (directed by Ridley Scott) composed by Daniel Pemberton that's filled with moments that could pass for classical compositions but are actually made for the movie.
If you're doing the Great Scores for Bad Movies by Goldsmith, the first thing that comes to mind is Lionheart. If you take the vast range of completely different beautiful themes alone, this will always be Jerry's Star Wars for me. I remember getting my hands on the Vol 1 album and spinning it for weeks without end, waiting to see that movie (that came out much, much later in my country), expecting a medieval masterpiece of Ridley Scott proportions... Well... No.
There's a great episode of the podcast The Goldsmith Odyssey where Brian Tyler is interviewed and he tells about Goldsmith's influence on his music and about replacing the score on Timeline - it's well worth checking out, as is the rest of the series. I hope you might do a guest spot on there some day, Austin?
I seldom depart from the PWL crew on topics related to working on projects, but I can't help but blab this out there given the discussion about collaboration. I reeeally hate when project leadership takes the approach of being a parent to their team. I understand and respect that often the scenarios play out similarly, especially between very junior and very senior team members. That dynamic is cultural and normal, but there are toxic middle managers that abuse this dynamic and end up treating perfectly capable adults like they are children. They can slow, divert, or destroy peoples careers because they think they have to "straighten out" their team members. It has happened to me a number of times that I fear ever working for anyone like that again. My preference, and the dynamic that I think is healthier, is for a team member to think of themselves as a service provider for someone with a creative vision that I am trying to execute on. I like clear and specific direction as much as I like creative collaboration, they are just different types of projects for different types of leaders. Within more firmly rooted teams though, managers that act like your dad are a real bummer.
Speaking of Bruce Broughton, when are you going to have Bruce on the channel? Please get Bruce, because no other podcast composers have asked him any good questions. 👍🏼
Bit of analog synth trivia: Michael Jackson went to Japan to try to buy the "recipe" for one of Isao Tomita's sounds--trying to turn Tomita into a bit of a synth jockey for him. Tomita turned him down.
I'd be curious to know how often it is the case that a composer knows early on in their creative process that they're working on either a huge success-to-be or complete flop. Like, is there ever the notion to hold back a little when scoring because "why get ambitious if it's not looking like a hit?" , or is there an urge to go all in on something, regardless, because the story's idea inspires them enough? Though I suppose it makes more sense for it to be the case that a lot of composers are greatful to be hired for a project at all. Surely, only a select handful of composers can be extremely picky about gigs, right?
@@awintory Hey, I'm happy to help out in some way. I really dig this series, and feel that I've learned a good deal about music from you and Troy. Thank you for taking the time to review my question at all, let alone answer it. I can't wait to hear what you have to say :)
Zimmer is very hard to pinpoint. One of the greatest musical innovators ever, and as a film dramatist, he has superb instincts. He can even write a great tune. That said, he also is more of a producer than 'composer' in the Goldsmith/Williams sense. I personally have zero issue with that (in fact, huge admiration), but when ranking composers, I find it hard to know how to place him on the list as a result. But if it were more broadly ranking 'film music artists' or something like that, he'd without question be top 5 of all time
Donner didn't "fire" Jerry from TIMELINE; the film didn't test well and required reshoots. Jerry, very sick by that point, didn't want to spend precious time rescoring the film.
@awintory : Not a problem at all -- as Jerry's most devoted advocate online perhaps, I've long appreciated your own advocacy for him. I'll actually be quoting you -- among others -- in my next Goldsmith lecture, at the University of Richmond next month. (We should catch up sometime.) Thanks for all that you do on Jerry's behalf. 🙂
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Only one question. Why is this show not 37 hours long with hundreds of Jerry Goldsmith clips and discussion? I’d listen to that all day long 😃
In due time :)
Check out the Goldsmith Odyssey podcast they are going by chronological order through Jerry Goldsmith's entire catalogue. They have also interviewed a number of people close to Goldsmith.
Great to hear you talking with such enthusiasm about my favourite composer. His versatility is breath taking, his talent even more so. RIP my hero.
My all-time favorite score by Goldsmith, and one of my all-time favorite scores period, is The Mummy! It made me sad when I found out that Goldsmith hated working on the movie because man that score is just pure immaculate and amazing...to me anyway haha. Goldsmith was such a versatile composer!
Between this and play watch listen, my appreciation for composers has only increased.
Q: But do you know *why* Austin framed someone for murder?
A: He had a score to settle.
Hyuk hyuk hyuk
"It's not fair! You shouldn't know that...". That's just about my thinking almost every time Austin opens his mouth! How do you have all this knowledge at the ready? I mean, you don't even have to think about it for a second!
Haha lifelong obsession!
@@awintory It's a delight to listen to! Never stop talking about the things you love! It's infectious!
I'm posting before watching so it's likely unrelated, but I've been working my way through John Williams and everyone should listen to Memoirs of a Geisha if they haven't heard it. Wow! Yo-Yo-Ma on Cello, Perlman on violin. A new all-time favorite.
Williams most recent TRUE masterpiece, that can stand astride his other all-team best
@@awintory Yeah, I consider it his last great score. Although he's written some good ones since too.
Such a beautiful score, totally on my list, too, even though I'm not listening to it non-stop. I really need to be in the right head space to 😊
I discovered his score during a live show displaying his filmography, and it blew me away! It was a huge surprise, for sure
I love listening to you talk about Goldsmith and I love the respect you give him. He was my all-time favorite composer and, my belief, was a master of every single genre of score he touched. One of the coolest, most serpentine themes I've ever heard is his main title from Magic.
MAGIC is brilliant, a real hidden gem
`Magic` is one of Goldsmith`s most sublime masterpieces.
My wife and I had the same family guy dvd in university and used to fall asleep watching it. I can picture exactly what you where talking about!
Theatre Escape sounded very much like the score to US Marshals to me. I was incorrect but sure enough he scored US Marshals too. My ear is evolving. Loving the work folks.
So glad to see Austin talking about Jerry Goldsmith, again! Also...
f a m i l y
Austin. What. Is. That. Drawing. On. Your. Notepad.
"at what point does a composer become a director?"
that sums it up perfectly, for me.
the impact of music (or deliberate lack thereof, as we learned in the episode about castaway) can never be stressed enough.
When i rewatched Bladerunner 2049 - my favourite sequel - again (and again) i finally came to realize that all the pictures, the actors and the story are the (albeit great) carpet for the real transformative substance, the damn perfect soundtrack.
I always believed that in another multiverse, Jerry Goldsmith is still alive and well and continues to score movies and received his due and well deserved recognition.
The Main Title of Star Trek: First Contact holds a special place in my heart.
Me too. Horn solos by my dear departed friend Brian O'Connor
I love when Troy asks who scored Silverado and I have the answer just as quickly as Austin did. We film score fans know that shit like the back of our hands, Troy. ;)
Thanks for another brilliant nerd out on Jerry Goldsmith scores! Keep powering on :D
There was a very nice feature by the LSO recently on RUclips where they talked about their colaboration with John Williams. Including the former principal horn player who got to play "Princess Leia's Theme" for the first time after a long recording session. And telling how the entire horn section realized that this was one of the great horn moments in the repertoire, akin to the opening of the second movement of the Tchaikovsky 5.
They said that the reason the score for "TESB" is written like the way it is, is that John Williams knew the players in the orchestra, and their tone and abilities. So he wrote a score that would play to their strengths, and be especially demanding because he knew they were up for it.
Here it is, if anyone wants to watch it:
ruclips.net/video/hhwQoyFXsuk/видео.html
I absolutely loved your comments about Jerry's westerns being different from Bernstein and Morricone! I like how most of his western themes are in minor keys (unlike Bernstein!), yet they don't sound at all like Morricone imitations.
Been a Goldsmith fan for more than 25 years so it's wonderful to hear you guys talking about him. Austin, if you're reading this, how about an episode on Indiana Jones and the Temple of Doom, easily one of my favorite John Williams scores, just so insanely complex
The Battle of Hoth amounts to almost 15 minutes of mostly unbroken music. When the live-to-picture presentation of the score was done in Indianapolis, the already pretty responsive audience applauded at the end of that sequence, and it was not for Luke & co. flying away in escape. It was 100% for the symphony's tour de force, 15 minute stretch of the most active music they would play all night. There were some surprised and appreciative smiles among the cellists and bassists, which was charming to see. This sequence of music, kept together as a single cue, is well seated in Williams' Best Adventure Cues (or Action Scenes) category with The Battle of Yavin and Desert Chase.
- David
Richard Donner worked with some great talent, Jerry Goldsmith on The Omen, John Williams on Superman and Dave Grusin on Goonies, funny thing is, these composers all knew eachother and had offices next to eachother in the 60s at CBS.
"Aaayeee am curious."
"yes sir"
id be dying even if you didn't make that poker face while saying that austin
Can’t wait to hear you talk about one of my favorite Goldsmith scores, Matinee!
I LOVE "Silverado" -That and "Back To The Future" are THE film scores got me into soundtracks. (I have a signed copy of Intrada's first CD expansion and an unsigned copy of the 2-CD expansion.)
How many movies have I discovered because of your podcast... and how many are still in my watchning cue! Thank you sincerely for sharing these wonderful conversations with us.
you guys have no clue how much i love these videos. it feeds my music side sooooooo well. and brings me unending joy.
Perfect timing. My copy of the new Lionheart album from Varѐse just arrived, so I'm in a big Jerry Goldsmith mood. Love this series!
This series Spartan kicks me into a deep appreciation for music I didn't even realize I remembered.
I can think of no better outcome
I honestly think that Jerry Goldsmith would have done a great job on Schindler's list had John Williams not been available, his music for QB VII is still one of my favourite scores of his
I'd also say that Goldsmith's musical structure is closer to that of Bernard Herrmann's than anyone else, his symphonic writing in the late 70s and 80s was closer to John Williams but the structure of his music is very similar to that of Bernard Herrmann.
I'm yelling Gremlins, the whole time Troy is trying to figure it out. Great score and amazing movie!
Silverado, Tombstone.... and Lost In Space for Broughton. But the latter has a lot of Don Davis in it. It's glorious. Deserves to be one of the classic sci-fi scores. Because it is.
I'm sorry, but as much as I love Silverado, if you ask me about THE Broughton score, that will always be Young Sherlock Holmes for me.
Tend to agree re: YSH. That score is truly superb
@@RalphKruhm Ah yes, that too! Admittedly haven't listened to that one for years.
Talking about Broughton: The Boy Who Could Fly is severely, massively, incredibly underrated.
@Jandreiz The Boy Who Could Fly is such a nice, warm score. It's just great! Although I feel like it must've been temped with E.T. or Superman... it feels very Williamsy (in a good way, but super obvious).
These free DLCs of Play Watch Listen are always a pleasure to watch!
Keep 'em coming Austin!
I just wanna say that this show is amazing!
Austin maybe you know:
In Denmark, Gremlins 2 theme is also used in Troldspejlet theme on DR (public TV station) from 1989 - Geek / nerd TV program about movies, video games, books etc. - 18 august the host Jakob stegelmann holds a Symphony Orchestra concert (DR Symphony Orchestra/DR Koncerthuset) - Called Galaxymphony - theme from space movies - star trek, star wars, 2001: a space odyssey, Alien and avatar etc. Am looking forward to it. How he got licensed for it, I would think is because it is public TV station.
This show is always amazing...though I did have to pause at the Battle of Hoth part to go listen to that and...wow, it covers *so* many things going on in the battle and you can just follow along in your head by what the music is doing so clearly, man I love John Williams.
I got Gremlins! Cause it was one of my favourite childhood movies. I even had the comic book based on the storyboard. I also thought of naming a dog Gizmo for real once.
Next, you should introduce Troy to the super synth-heavy Goldsmith scores and see what he makes of stuff like Logan's Run, Runaway, Alien Nation, The Vanishing or The Reincarnation of Peter Proud. Or, perhaps, give him a taste of something sublime but relatively unknown like The Challenge, Magic, The Illustrated Man or The Red Pony. He'll only want to hear more.
Stay tuned :)
@@awintory Will do, sir.
God damn, the Star Trek Nemesis score is fucking incredible. So underappreciated. Certainly the score which feels like his grand finale, though I do love his rejected Timeline score.
Ausin:Talks about Looney Tunes: Back in Action, Me:Hmmm, how did i never know that, Internet: Varese Sarabande, new digital album to buy, Me: Don't mind if i do.
Ha the Gremlin rag.. love the quote in that track Austin played. I actually never bought it but as soon as he played the track and I heard the quote I knew it.
talking about modern westerns. Carter Burwell's "True Grit" score
You Gotta Hear This : Episode 5 - Part 1 - Reference List :
* Richard Donner - Film Director and Producer - 1930-2021
* Jerry Goldsmith - Musical Composer & Conductor - 1929-2004
* Superman - Film - 1978 - Dir Richard Donner - Music Composer John Williams
* The Omen - Film - 1976 - Dir Richard Donner - Music Composer Jerry Goldsmith
* The Goonies - Film - 1985 - Dir Richard Donner - Music Composer Dave Grusin
* Looney Tunes : Back in Action - Film - 2003 - Dir Joe Dante - Music Composer Jerry Goldsmith ( Final Score ) & John Debney
* Timeline - Film - 2003 - Dir Richard Donner - Music Composer Jerry Goldsmith & Brian Tyler
* Sphere - Novel - 1987 - Written by Michael Crichton
* Sphere - Film - 1998 - Dir Barry Levinson - Music Composer Elliot Goldenthal
* Jurassic Park - Novel - 1990 - Written by Michael Crichton
* Jurassic Park - Film - 1993 - Dir Steven Spielberg - Music Composer John Williams
* Star Trek Nemesis - Film - 2002 - Dir Stuart Baird - Music Composer Jerry Goldsmith
* Independence Day - Film - 1996 - Dir Roland Emmerich - Music Composer David Arnold
* Men in Black - Film - 1997 - Dir Barry Sonnenfeld - Music Composer Danny Elfman
* The Matrix - Film -1999 - Dir The Wachowskis - Music Composer Don Davis
* Gladiator - Film - 2000 - Dir Ridley Scott - Music Composer Hans Zimmer
* The Mask of Zorro - Film - 1998 - Dir Martin Campbell - Music Composer James Horner
* Family Guy - Animated Tv Show - 1999 - Created by Seth McFarlane - Musical Composers Ron Jones & Walter Murphy
* Pee-Wee’s Big Adventure - Film - 1985 - Dir Tim Burton - Music Composer Danny Elfman
* Batteries Not Included - Film - 1987 - Dir Matthew Robbins - Music Composer James Horner
* Ennio Morricone - Musician, Music Composer, Producer and Conductor - 1928-2020
* Elmer Bernstein - Music Composer - 1922-2004
* Aaron Copland - Music Composer, Teacher, Writer and Conductor - 1900-1990
* Silverado - Film - 1985 - Dir & Prod Lawrence Kasdan - Music Composer Bruce Broughton
* Tombstone - Film - 1993 - Dir George P. Cosmatos - Music Composer Bruce Broughton
* The Quick and the Dead - Film - 1995 - Dir Sam Raimi - Music Composer Alan Silvestri
* Unforgiven - Film - 1992 - Dir Clint Eastwood - Music Composer Lennie Niehaus
* Belinda Broughton - Violinists
* The Empire Strikes Back - Film - 1980 - Dir Irvin Kershner - Music Composer John Williams
* Wild Rovers - Film - 1971 - Dir Blake Edwards - Music Composer Jerry Goldsmith
* Gremlins - Film - 1984 - Dir Joe Dante - Music Composer Jerry Goldsmith
* Twilight Zone The movie - 1983 - Dir John Landis, Steven Spielberg, Joe Dante, George Miller - Music Composer Jerry Goldsmith
* First Knight - Film 1995 - Dir Jerry Zucker - Music Composer Jerry Goldsmith
* Brass / Winds / Strings / Percussion / Voice / Electronic ( processing recorded sounds and generated sounds )
* The Sum of all Fears - 2002 - Dir Phil Alden Robinson - Music Composer Jerry Goldsmith
* Paul Williams - Songwriter
* Sneakers - Film - 1992 - Dir Phil Alden Robinson - Music Composer James Horner
* Michael Giacchino - Music Composer -
* Lost - Tv Show - 2004 - Created by Jeffrey Lieber, J.J Abrams and Damon Lindelof
* The Battle in the Snow - John Williams - London Symphonic Orchestra
Thanks for the Great Episode ! Take Care.
this is the best series thank you. keep em coming
This idea was recommended to me by RUclips. What is this, a podcast?? I need more
Bunch others here on this channel and more coming all the time!
Fun star trek fact
Our current king, king Abdullah II of Jordan, appeared in a Star Trek voyager episode as an extra
Speaking of Westerns I just have two words for you, Lonesome Dove. I know it’s not a movie, but it is “the” western in my opinion. The score is fabulous as well by Basil Poledouris.
Hoorah we are back again! Saying this at the beginning, so I’m with Troy on this on where we go today, :)
When is the 4-hour deep-dive on Debney's Cutthroat Island coming? I feel like someone needs to do it.
I’d love to have a Cola and a Mcwilliams. Would be a delightful breakfast.
Edit: I love the lightning fast response from you, Austin, at 23:40 My thoughts were identical to Troy’s xD
The Gremlin Rag is like... Orthodoxy ragtime. God I love it. What a fascinating sound
Theatre Escape was interesting. It vaguely reminded me of Meat Circus from Psychonauts.
On the subject of great movies vs. terrible (or in this case, weird) scores, I'd love to hear your thoughts on Ladyhawke.
Would be awesome to have an episode about Sogno di Volare by Christopher Tin. I can't help but be amazed every single time I hear that one.
Similar here: First DVD ever watched Gladiator, first DVD ever bought Matrix. And when the time came these two were my fist ever BluRay buys, also. Fun fact: One of the main reasons for the very energetic Matrix score was the involvement of Juno Reactor, who also worked on the great electronic Mortal Kombat OST.
1st Family DVD was Con Air for me.
I'd love to hear Austin's thoughts on contemporary composers like Ludwig Goransson!
Stay tuned, lots planned
Funny enough, Brian Tyler also has composed some great scores for terrible movies... including TIMELINE. Also, on the topic of the Aria for the opening of The Sum of All Fears, I remember having a similar reaction to Mr. Baker learning it was an original composition when I hear the score of All the Money in the World (directed by Ridley Scott) composed by Daniel Pemberton that's filled with moments that could pass for classical compositions but are actually made for the movie.
If you're doing the Great Scores for Bad Movies by Goldsmith, the first thing that comes to mind is Lionheart. If you take the vast range of completely different beautiful themes alone, this will always be Jerry's Star Wars for me. I remember getting my hands on the Vol 1 album and spinning it for weeks without end, waiting to see that movie (that came out much, much later in my country), expecting a medieval masterpiece of Ridley Scott proportions... Well... No.
new fan here! great conversation !!
FIRST.
(can't wait to -play- ,watch, listen to this!!!)
There's a great episode of the podcast The Goldsmith Odyssey where Brian Tyler is interviewed and he tells about Goldsmith's influence on his music and about replacing the score on Timeline - it's well worth checking out, as is the rest of the series. I hope you might do a guest spot on there some day, Austin?
I seldom depart from the PWL crew on topics related to working on projects, but I can't help but blab this out there given the discussion about collaboration. I reeeally hate when project leadership takes the approach of being a parent to their team. I understand and respect that often the scenarios play out similarly, especially between very junior and very senior team members. That dynamic is cultural and normal, but there are toxic middle managers that abuse this dynamic and end up treating perfectly capable adults like they are children. They can slow, divert, or destroy peoples careers because they think they have to "straighten out" their team members. It has happened to me a number of times that I fear ever working for anyone like that again. My preference, and the dynamic that I think is healthier, is for a team member to think of themselves as a service provider for someone with a creative vision that I am trying to execute on. I like clear and specific direction as much as I like creative collaboration, they are just different types of projects for different types of leaders. Within more firmly rooted teams though, managers that act like your dad are a real bummer.
I’m behind on these but I really hope that one day there’s one on Michael giacchino and his score for lost.
Austin’s inability to not sound like Harrison Ford while saying “family” is hilarious.
The family counter is killing me...
I actually nailed this one! I feel like I just achieved something and I have no idea how to explain it to anyone.
Speaking of Bruce Broughton, when are you going to have Bruce on the channel? Please get Bruce, because no other podcast composers have asked him any good questions. 👍🏼
Just a thought you coulda thrown innerspace right into this conversation, very cheesy 80`s movie great score though, still have it on record :)
Fine, I'll be the first to say it!
Troy, the hair looks beautiful mate 👏
Wintory, you sneaky devil! Where did this show come from and why are you not shamelessly promoting it on PWL?? lol :0)
When I think of a composer delving into synths, I think of Clint Mansell before Hans Zimmer. But I guess that's possibly due to my taste in films.
Gizmos!!!
Also, Austin, what's that drawing on your sheet music notepad?
Hey! I love this series.
Wondering how you share the audio with Troy without him seeing what's being played..
AudioMovers link that he has open in a web browser :)
I'm pretty sure there are sound effects in the opening of The Sum of All Fears, they're just very muted
Go check. None until well into the sequence, 2 minutes or so. Subtle wind and then later alarms and things but fully halfway through
Bit of analog synth trivia: Michael Jackson went to Japan to try to buy the "recipe" for one of Isao Tomita's sounds--trying to turn Tomita into a bit of a synth jockey for him. Tomita turned him down.
P.S. Jerry Goldsmith was the best-ever film scorer. As in TOP GUN, there is no second place.
I'd be curious to know how often it is the case that a composer knows early on in their creative process that they're working on either a huge success-to-be or complete flop.
Like, is there ever the notion to hold back a little when scoring because "why get ambitious if it's not looking like a hit?" , or is there an urge to go all in on something, regardless, because the story's idea inspires them enough?
Though I suppose it makes more sense for it to be the case that a lot of composers are greatful to be hired for a project at all. Surely, only a select handful of composers can be extremely picky about gigs, right?
I'm going to make an entire video in response to this comment, stay tuned :) And thanks in advance !
@@awintory Hey, I'm happy to help out in some way. I really dig this series, and feel that I've learned a good deal about music from you and Troy.
Thank you for taking the time to review my question at all, let alone answer it. I can't wait to hear what you have to say :)
Yay Gremlins
My lord, That Grimlins track is insanely close to the Pee-Wee Herman theme. Hmmm.
I can't I say hear it
Gizmo come on guys, you should do gizmos song
Where does Hans Zimmer rank for you Austin? Top 5 of All Time? If not, why?
Zimmer is very hard to pinpoint. One of the greatest musical innovators ever, and as a film dramatist, he has superb instincts. He can even write a great tune. That said, he also is more of a producer than 'composer' in the Goldsmith/Williams sense. I personally have zero issue with that (in fact, huge admiration), but when ranking composers, I find it hard to know how to place him on the list as a result. But if it were more broadly ranking 'film music artists' or something like that, he'd without question be top 5 of all time
I thought Donner totally re-worked Timeline and asked Jerry to rescore it and he said... no thanks
Possibly. It was a troubled production across every axis
each Jack Ryan had his own composer...
Gremlins 2 is my guess
Please do an episode on Joe Hisaishi🙏
His Hanabi score is a masterpiece that captures the mood of metropolitan movement of Japan 🇯🇵
ruclips.net/video/bICJM2ORdiE/видео.html
Donner didn't "fire" Jerry from TIMELINE; the film didn't test well and required reshoots. Jerry, very sick by that point, didn't want to spend precious time rescoring the film.
You're right, I remembered it wrong
@awintory : Not a problem at all -- as Jerry's most devoted advocate online perhaps, I've long appreciated your own advocacy for him. I'll actually be quoting you -- among others -- in my next Goldsmith lecture, at the University of Richmond next month. (We should catch up sometime.)
Thanks for all that you do on Jerry's behalf. 🙂
Hey, Austin! I did email you; don't know if you got it.
"Timeline" was AWFUL. The novel was much better. I LOVE "Silverado". That and "Back To The Future" were my way into film soundtracks.
Timeline was a great novel. It read like an action movie. I don't know how they made the adaptation into such an uninteresting and uninspiring movie.