Feb. 7, 2025

The Music of Jerry Goldsmith: Our Top 5 Favorite Scores

The Music of Jerry Goldsmith: Our Top 5 Favorite Scores
Apple Podcasts podcast player badge
Spotify podcast player badge
Goodpods podcast player badge
Pandora podcast player badge
Amazon Music podcast player badge
iHeartRadio podcast player badge
Castbox podcast player badge
Deezer podcast player badge
TuneIn podcast player badge
Podcast Addict podcast player badge
Podchaser podcast player badge
Spreaker podcast player badge
JioSaavn podcast player badge
Castro podcast player badge
RSS Feed podcast player badge
Apple Podcasts podcast player icon Spotify podcast player icon Goodpods podcast player icon Pandora podcast player icon Amazon Music podcast player icon iHeartRadio podcast player icon Castbox podcast player icon Deezer podcast player icon TuneIn podcast player icon Podcast Addict podcast player icon Podchaser podcast player icon Spreaker podcast player icon JioSaavn podcast player icon Castro podcast player icon RSS Feed podcast player icon
Season 6 A Film By...

David and Wayne welcome Chuck Bryan from The Cinematic Flashback Podcast back to the show to celebrate one of their favorite composers, Jerry Goldsmith, with their top five favorites of his scores! 

For exclusive episodes and content, check out A Film By... Podcast on our Patreon with a FREE 7-day trial. You can also sign up as a free member! 

Check out www.afilmbypodcast.com/ for more information.
Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.

WEBVTT

1
00:00:00.560 --> 00:00:04.120
We always talk about directors and they're hidden in underappreciated

2
00:00:04.160 --> 00:00:06.960
films here, but we all know that music is just

3
00:00:07.120 --> 00:00:10.279
as important and can either make or break a film.

4
00:00:10.279 --> 00:00:12.080
Will we agree with that? Oh?

5
00:00:12.119 --> 00:00:12.919
Absolutely?

6
00:00:13.439 --> 00:00:16.160
Yeah. Well, it just so happens that our birthday is

7
00:00:16.239 --> 00:00:19.160
upon us. He is no longer with us, sadly, But gentlemen,

8
00:00:19.640 --> 00:00:22.879
let's talk about music by Jerry Goldsmith, who would have

9
00:00:22.920 --> 00:00:27.199
been ninety six years old on this Monday, February tenth.

10
00:00:27.480 --> 00:00:30.199
Could you pick your all time top favorite Goldsmith score

11
00:00:30.280 --> 00:00:30.600
right now?

12
00:00:31.839 --> 00:00:33.560
Yeah?

13
00:00:33.600 --> 00:00:34.520
I think I have it.

14
00:00:34.679 --> 00:00:37.600
Okay, do you think we can narrow down like maybe

15
00:00:37.640 --> 00:00:38.880
the top five for both of you?

16
00:00:40.000 --> 00:00:41.679
It'd be hard, but yeah, I think I could do that.

17
00:00:41.840 --> 00:00:45.799
I'm gonna have to kill some darlings, but okay, all right,

18
00:00:45.840 --> 00:00:47.799
well let's do that. Let's talk about the music of

19
00:00:47.880 --> 00:01:17.400
Jerry Goldsmith with our top five favorite scores. Hello, everybody,

20
00:01:17.519 --> 00:01:21.239
I'm David Burns and I'm Wayne whiteed and this is

21
00:01:21.280 --> 00:01:25.079
a film by podcast. Joining us on this special occasion

22
00:01:25.280 --> 00:01:28.680
is the one and only Chuck Bryan from the Cinematic

23
00:01:28.840 --> 00:01:32.280
Flashback podcast. You will also remember that he joined us

24
00:01:32.280 --> 00:01:35.239
for Phasers Set the Stan oddly enough to films that

25
00:01:35.439 --> 00:01:38.719
Jerry Goldsmith composed, and that would have been Star Trek

26
00:01:38.760 --> 00:01:43.560
First Contact and Star Trek The Motion Picture. Chuck, welcome, Hey, thanks.

27
00:01:43.799 --> 00:01:48.319
I know we Jeff teased this particular episode way back

28
00:01:48.319 --> 00:01:51.480
in the summer and I have been looking forward to

29
00:01:51.519 --> 00:01:53.280
this day for a long time.

30
00:01:53.799 --> 00:01:58.040
Yeah. I think Wayne has two, haven't you I have? Yeah, yes,

31
00:01:58.159 --> 00:02:00.319
I have two. Even though I'm hosting it, you guys

32
00:02:00.319 --> 00:02:02.040
are doing the picks. I'm still very excited to be

33
00:02:02.079 --> 00:02:04.920
doing this. So let's just start working on this. Because

34
00:02:05.159 --> 00:02:08.000
we all love music. We all love Jerry Goldsmith, so

35
00:02:08.039 --> 00:02:09.840
again we know music can make or break a film.

36
00:02:09.879 --> 00:02:12.120
We have talked over the years about the importance of

37
00:02:12.159 --> 00:02:14.680
this here on the podcast, and we have discussed some

38
00:02:14.800 --> 00:02:18.520
wonderful composers and one of those we are discussing today.

39
00:02:19.240 --> 00:02:21.319
Wayne and Chuck. Guys, both of you are very extreme

40
00:02:21.400 --> 00:02:24.000
fans of mister Goldsmith. I know we are going to

41
00:02:24.039 --> 00:02:26.400
discuss what you think is your top five of his

42
00:02:26.479 --> 00:02:29.560
scores of all time. But before we do that, let's

43
00:02:29.639 --> 00:02:33.199
talk briefly about the man, the myth, the legend that

44
00:02:33.439 --> 00:02:38.360
is Jerry Goldsmith. Jerry was born February tenth, nineteen twenty nine.

45
00:02:38.759 --> 00:02:42.000
And sadly we lost him in July of two thousand

46
00:02:42.039 --> 00:02:47.240
and four. I remember this day vividly because Wayne and

47
00:02:47.360 --> 00:02:49.080
I have known each other for a very long time

48
00:02:49.879 --> 00:02:53.639
and we both were huge collectors of soundtracks still are.

49
00:02:54.639 --> 00:02:57.400
And I remember the day he passed away because I

50
00:02:57.400 --> 00:02:59.319
didn't know anything about it. You're the one that reached

51
00:02:59.319 --> 00:03:01.960
out to me to say, hey, Jerry Goldsmith had just

52
00:03:02.039 --> 00:03:04.080
passed away, and it was a devastating day.

53
00:03:04.199 --> 00:03:04.400
Chuck.

54
00:03:04.400 --> 00:03:05.960
Do you remember that day? Oh?

55
00:03:06.080 --> 00:03:10.319
Absolutely. In fact, I remember being down in South Carolina

56
00:03:10.479 --> 00:03:14.319
at the time, and there's a point in life where

57
00:03:14.360 --> 00:03:17.120
all of a sudden, people that you really admired when

58
00:03:17.120 --> 00:03:20.800
they pass, it hits you like a ton of press.

59
00:03:20.280 --> 00:03:22.479
This one, this one was what was I think maybe

60
00:03:22.520 --> 00:03:23.280
my first one.

61
00:03:23.680 --> 00:03:26.560
Yeah, yeah, it hit me pretty hard. I was at work,

62
00:03:26.759 --> 00:03:30.599
and you know, he's was a big composer, and he

63
00:03:30.639 --> 00:03:34.159
made the national news. His death inbituary made the national news,

64
00:03:34.199 --> 00:03:35.800
and that's where I saw it, and then that's when

65
00:03:35.800 --> 00:03:36.439
I got a hold of you.

66
00:03:36.800 --> 00:03:38.560
Yeah, I remember that, and it was just like what

67
00:03:39.400 --> 00:03:41.360
It was hard to believe because he had given us

68
00:03:41.400 --> 00:03:45.439
so much wonderful music over the years. So he has

69
00:03:45.479 --> 00:03:49.080
a career in film and televisions that spans nearly fifty

70
00:03:49.479 --> 00:03:53.039
years over two hundred productions between fifty four and two

71
00:03:53.039 --> 00:03:55.919
thousand and three. He is considered as one of the

72
00:03:55.960 --> 00:04:00.800
most influential and innovative composers of our time. Nominated for

73
00:04:00.960 --> 00:04:04.520
eighteen Academy Awards, winner of one in nineteen seventy seven

74
00:04:04.520 --> 00:04:07.719
for his Score of the Omen, six Grammy Awards, five

75
00:04:07.759 --> 00:04:11.199
Primetime Emmys, nine Golden Globes, four British Academy Film Awards,

76
00:04:11.680 --> 00:04:15.560
and much more. At thirteen, he started learning the piano

77
00:04:16.120 --> 00:04:21.199
by concert pianist educator Jacob Gimp. By sixteen, he was

78
00:04:21.199 --> 00:04:25.720
studying under Italian composer Mario Casanova to desco. It was

79
00:04:25.759 --> 00:04:30.959
also at sixteen that Goldsmith discovered the film Spellbound, which

80
00:04:31.000 --> 00:04:35.199
would inspire him to pursue a career in music. He

81
00:04:35.240 --> 00:04:38.319
would attend both University of Southern California and Los Angeles

82
00:04:38.360 --> 00:04:40.959
City College. Apparently he didn't like the University of Southern California,

83
00:04:41.600 --> 00:04:44.519
so he moved to Los Angeles City College. What else

84
00:04:44.560 --> 00:04:46.519
do you guys know about mister Goldsmith, because he has

85
00:04:46.600 --> 00:04:48.560
had a long, lustrous career.

86
00:04:49.240 --> 00:04:53.240
Yeah, he has, and I do know. He began working

87
00:04:53.240 --> 00:04:55.920
for CBS at the beginning started composing music for a

88
00:04:56.000 --> 00:04:59.160
lot of the radio series that they did, such as

89
00:04:59.199 --> 00:05:04.600
the CBS Rate Workshop and Frontier Gentlemen Romance. I remember

90
00:05:04.759 --> 00:05:07.959
quotes that he said they needed someone to do the music,

91
00:05:08.079 --> 00:05:10.519
and I knew someone there who said I would be

92
00:05:10.560 --> 00:05:12.839
great for this, and he was right. I mean, it

93
00:05:12.839 --> 00:05:15.480
was a great start. I've heard some of his radio music.

94
00:05:16.560 --> 00:05:18.360
It's phenomenal right from the beginning.

95
00:05:18.720 --> 00:05:23.439
It really is anything I was going to say. Growing up,

96
00:05:23.480 --> 00:05:26.600
one of a show that my parents and I really

97
00:05:26.680 --> 00:05:31.560
enjoyed watching together was The Waltons, and I always loved

98
00:05:31.560 --> 00:05:34.720
the theme from it, and I'm just like, how did

99
00:05:34.720 --> 00:05:37.759
they write this? Like I'm asking questions like how do

100
00:05:37.839 --> 00:05:41.319
they know how to make music for something? How do

101
00:05:41.360 --> 00:05:43.560
they come up with it? And you know, they started

102
00:05:43.600 --> 00:05:45.360
telling me a little bit more and they said, oh,

103
00:05:45.399 --> 00:05:48.040
look it's by Jerry Goldsmith, and I kind of tucked

104
00:05:48.040 --> 00:05:52.040
that little nugget in my head. And then in seventy

105
00:05:52.120 --> 00:05:55.040
nine when I go to see Star Trek the motion

106
00:05:55.160 --> 00:05:57.240
picture and his name comes up.

107
00:05:57.160 --> 00:06:00.360
There, I'm like, the composer of the Waltons.

108
00:06:00.959 --> 00:06:02.759
Is it amazing? Just putting those dots together?

109
00:06:03.079 --> 00:06:06.560
Oh well, as that was that was the beginning.

110
00:06:06.959 --> 00:06:07.360
Uh.

111
00:06:07.439 --> 00:06:10.279
And I think of when people say, what's the first

112
00:06:10.319 --> 00:06:13.879
album you ever bought? Named? They'll named some classic rock

113
00:06:14.000 --> 00:06:17.439
or something that's just amazing. And I think about my

114
00:06:17.480 --> 00:06:19.040
first album was Star Trek.

115
00:06:18.839 --> 00:06:22.040
The Motion Picture.

116
00:06:22.120 --> 00:06:24.000
Nothing wrong with that.

117
00:06:24.920 --> 00:06:27.560
He just he knew how to write themes that you

118
00:06:27.600 --> 00:06:30.120
would remember, themes that you could you'd walk out of

119
00:06:30.160 --> 00:06:33.439
the theater and and be able to hum. It's something,

120
00:06:33.680 --> 00:06:36.319
in my opinion, on an art that's lost today. But

121
00:06:36.639 --> 00:06:37.720
that's what made him the master.

122
00:06:39.199 --> 00:06:41.160
Another thing I love about Goldsmith and when you've you

123
00:06:41.240 --> 00:06:42.439
and I have talked about this for and I think

124
00:06:42.439 --> 00:06:46.879
we mentioned briefly another podcast how Jerry Goldsmith loves to

125
00:06:46.920 --> 00:06:50.920
put odd sounds into his scores. I mean he did,

126
00:06:50.959 --> 00:06:52.839
he did with Star Trek two. We kind of discussed

127
00:06:52.839 --> 00:06:54.600
that when we did the motion picture we might dig

128
00:06:54.920 --> 00:06:56.839
in a little bit more here in this. But I mean,

129
00:06:56.879 --> 00:07:00.480
I'm talking like Grimlins the Burbs. How he always and

130
00:07:00.519 --> 00:07:02.439
it seems like it's always Joe Dante films that he

131
00:07:02.519 --> 00:07:05.560
just loves to play around and adds some odd weird sounds.

132
00:07:05.839 --> 00:07:08.560
It is. I love his barking dogs for the earth,

133
00:07:09.399 --> 00:07:10.079
for the verbs.

134
00:07:10.199 --> 00:07:15.920
Yes, that's one of my favorites. I'll tell you absolutely,

135
00:07:16.279 --> 00:07:18.639
but no, it's I love when composers do those kind

136
00:07:18.680 --> 00:07:21.519
of things because it sets them apart from others. It

137
00:07:21.639 --> 00:07:24.519
makes them more unique in my opinion. So when I

138
00:07:24.519 --> 00:07:26.879
hear those, I immediately know it's Jerry Goldzon's but it's

139
00:07:26.920 --> 00:07:29.800
in a good way because he's being unique, he's being original,

140
00:07:29.959 --> 00:07:31.160
and I love that, I really do.

141
00:07:31.680 --> 00:07:34.759
Yeah, it also makes you ask a lot of times.

142
00:07:34.800 --> 00:07:39.920
So you know, I went to school as a music educator,

143
00:07:40.079 --> 00:07:43.279
and so I have a really good ear for instrumentations

144
00:07:43.360 --> 00:07:48.560
and what instrument made that sound. And I'll listen to

145
00:07:48.560 --> 00:07:54.399
some of his scores and he is pulling instruments from

146
00:07:54.720 --> 00:07:58.680
different countries, and he's taking things and he's putting them

147
00:07:58.680 --> 00:08:02.360
together and and it just you're going, I know this

148
00:08:02.439 --> 00:08:03.360
is being played.

149
00:08:03.959 --> 00:08:04.480
It's not a.

150
00:08:04.439 --> 00:08:07.000
Sound effect, but I don't know how he did it,

151
00:08:07.360 --> 00:08:11.519
you know, So I think that's really great, and he

152
00:08:11.560 --> 00:08:12.920
does it in a lot of his films.

153
00:08:13.279 --> 00:08:16.839
He loved to experiment. He loved using new instruments out there,

154
00:08:16.879 --> 00:08:20.240
he loved using ancient instruments. There was a time during

155
00:08:20.279 --> 00:08:24.439
the eighties where he was experimenting with electronics. Some of

156
00:08:24.480 --> 00:08:28.279
his scores were completely done on synthesizers. He loved to

157
00:08:28.319 --> 00:08:30.079
experiment and love to try new things.

158
00:08:30.519 --> 00:08:35.559
Yeah, and his son, Joel Goldsmith would follow suit with

159
00:08:35.679 --> 00:08:39.240
his father. Unfortunately, he passed away a lot younger than

160
00:08:39.240 --> 00:08:42.440
his dad did. I believe he was what fifty four

161
00:08:42.519 --> 00:08:45.440
years old when Joel passed away. You know, he was

162
00:08:45.799 --> 00:08:48.000
doing some work, doing some good work too, out there,

163
00:08:48.039 --> 00:08:49.879
and it was falling in the footsteps of his father.

164
00:08:50.759 --> 00:08:53.039
I believe he even helped his father on first contact

165
00:08:53.080 --> 00:08:56.559
a little bit my understanding, and you know he even

166
00:08:56.799 --> 00:09:03.120
stargate SG one Wayne, I believe, mister Joey. Yeah, and

167
00:09:03.159 --> 00:09:06.919
it was fantastic. But unfortunately he died at a very

168
00:09:06.960 --> 00:09:10.200
young age twenty twelve. I believe it was when Joel.

169
00:09:11.039 --> 00:09:15.159
Yeah, did y'all know that Joel also worked on Star

170
00:09:15.200 --> 00:09:16.200
Trek in the motion picture?

171
00:09:17.159 --> 00:09:19.120
No, would he gonna be really young.

172
00:09:20.519 --> 00:09:21.000
At that time.

173
00:09:21.559 --> 00:09:24.799
He was young, but he did not write music. He

174
00:09:24.919 --> 00:09:29.639
was doing sound effects. So there were several sound effect groups.

175
00:09:29.639 --> 00:09:31.960
So just remember they're in a mad rush in their

176
00:09:32.080 --> 00:09:37.559
post production, so they have maybe three different teams that

177
00:09:37.600 --> 00:09:41.240
are just coming up with all kinds of sound effects

178
00:09:41.240 --> 00:09:45.960
for different parts of the film, like the transporters or whatever,

179
00:09:46.080 --> 00:09:50.360
and then they bring them together. So a lot of

180
00:09:50.399 --> 00:09:54.039
the work that his team did makes it up into

181
00:09:54.080 --> 00:09:54.879
the final mix.

182
00:09:55.559 --> 00:09:57.080
Interesting, I did not know that. Huh.

183
00:09:57.480 --> 00:09:59.559
Yeah, he just scored his first film, like just a

184
00:09:59.639 --> 00:10:01.960
year or two before that. I remember it's called Laser Blast.

185
00:10:02.559 --> 00:10:04.240
I remember because it was on Mystery Science Theater.

186
00:10:06.200 --> 00:10:13.200
Oh boy, I'm putting together a series for cinematic flashback

187
00:10:13.440 --> 00:10:17.600
on science fiction movies of the seventies that's not Star

188
00:10:17.679 --> 00:10:21.279
Wars are Close Encounters, and Laser Blast was one that

189
00:10:21.919 --> 00:10:25.000
came on there, and I need to rewatch it, but

190
00:10:25.519 --> 00:10:28.360
I do remember seeing it on MST three. K.

191
00:10:28.519 --> 00:10:30.919
Yeah, there's a lot of good stuff in the seventies

192
00:10:30.919 --> 00:10:34.080
when it comes to sci fi that's not Star Wars.

193
00:10:34.120 --> 00:10:37.639
So yes, absolutely a lot of bad stuff too, but hey,

194
00:10:37.639 --> 00:10:43.039
that's fun too. It really is absolutely no doubt. All Right, Well,

195
00:10:43.080 --> 00:10:45.759
we are going to hear Wayne and Chuck's top five picks.

196
00:10:45.840 --> 00:10:47.759
But before we do that, let's take a short break

197
00:10:48.000 --> 00:10:50.159
and when we come back, we will start digging in.

198
00:10:52.600 --> 00:10:55.200
Welcome back, everybody. This is a film by podcast. Well,

199
00:10:55.240 --> 00:11:00.360
we are discussing Jerry Goldsmith, a master composer. We are

200
00:11:00.399 --> 00:11:03.399
going to start our top five picks that Wayne and

201
00:11:03.519 --> 00:11:07.080
Chuck have for us. We are going to start at

202
00:11:07.159 --> 00:11:10.919
number five with the count down. Wayne, I'm gonna let

203
00:11:10.960 --> 00:11:14.039
you go first. What is your number five?

204
00:11:14.759 --> 00:11:18.039
My number five pick is going to be Poltergeist, the

205
00:11:18.120 --> 00:11:23.080
nineteen eighty two Steven Spielberg film. I love this score

206
00:11:24.000 --> 00:11:27.360
because this gave Goldsmith a chance to do horror. I

207
00:11:27.399 --> 00:11:30.679
know Agden horror before with the Other and with the Omen,

208
00:11:31.240 --> 00:11:37.039
but here he has crafted the most beautiful and eerie

209
00:11:37.159 --> 00:11:42.399
theme and score for a film that I've ever heard.

210
00:11:42.440 --> 00:11:47.320
It's just absolutely incredible. Every minute is during this score

211
00:11:47.440 --> 00:11:53.600
is just phenomenal. Especially my favorite Q of the entire

212
00:11:53.639 --> 00:11:58.639
film is called Twisted Abduction, which this is the music

213
00:11:58.679 --> 00:12:02.879
that was playing when the boy is abducted from his

214
00:12:03.039 --> 00:12:05.200
room by the tree and you know, the clown and

215
00:12:05.240 --> 00:12:09.120
then Carol Anne is suck through the closet. Just a

216
00:12:09.200 --> 00:12:13.559
long piece, but incredible, just absolutely incredible how he's able

217
00:12:13.559 --> 00:12:20.159
to convey the spence and the fear, the emotion that's

218
00:12:20.200 --> 00:12:24.799
needed for that scene through his music. It starts off

219
00:12:24.879 --> 00:12:28.120
with very low bass Claire Natch, and builds up to

220
00:12:28.200 --> 00:12:31.720
just a frenzy orchestra. It's fantastic. Plus The theme is

221
00:12:31.799 --> 00:12:35.120
extremely memorable and kind of creepy with those children singing.

222
00:12:35.159 --> 00:12:37.320
It's a masterpiece, it is.

223
00:12:37.440 --> 00:12:40.559
Those kids singing always geared the crap out of me,

224
00:12:40.600 --> 00:12:44.440
as as in Darts, So yes, I remember this one

225
00:12:44.519 --> 00:12:47.279
vividly as well. I saw this movie in the theater

226
00:12:47.279 --> 00:12:49.559
when I was a little kid, so I was petrified

227
00:12:49.799 --> 00:12:52.519
of this movie. Jerry Goldsmith did a fantastic job your

228
00:12:52.600 --> 00:12:55.799
right wing. What I would love about composers is when

229
00:12:55.840 --> 00:12:58.519
their music is so good that it still blends in

230
00:12:58.639 --> 00:13:01.919
well with what's going on screen that you kind of

231
00:13:01.919 --> 00:13:04.279
forget the music. And that's a good thing, believe me,

232
00:13:04.639 --> 00:13:07.879
because it pulls you into the film so much. It

233
00:13:07.960 --> 00:13:12.720
makes you feel scared, it makes you feel laugh laughable,

234
00:13:12.759 --> 00:13:15.480
whatever it is. You know, a good composer is able

235
00:13:15.480 --> 00:13:18.039
to do that, and that's why music is so so important.

236
00:13:18.080 --> 00:13:19.720
And he is a master of it and he does.

237
00:13:19.720 --> 00:13:21.240
That's a great job here in Pultry based.

238
00:13:21.039 --> 00:13:25.240
Agree he did. And you know, fortunately this is available

239
00:13:25.279 --> 00:13:28.360
complete though there is a two CD set release the

240
00:13:28.399 --> 00:13:31.679
stout there has everything in it, including the star spangled banner.

241
00:13:31.759 --> 00:13:34.120
You say, you can go out and buy this and

242
00:13:34.120 --> 00:13:35.360
and enjoy the music like I do.

243
00:13:36.080 --> 00:13:39.240
There was a time listeners, you young listeners, where television

244
00:13:39.279 --> 00:13:42.120
did stop at a certain time at night and they

245
00:13:42.159 --> 00:13:45.799
would play that banner that and you wouldn't have any

246
00:13:45.799 --> 00:13:49.080
television until like five or six in the morning. We

247
00:13:49.080 --> 00:13:50.200
don't have those days anymore.

248
00:13:52.519 --> 00:13:54.440
But not a great way of starting the film, though.

249
00:13:54.720 --> 00:13:57.799
They went with Fats and then it goes right into

250
00:13:57.960 --> 00:14:00.600
his very eerie score. And it's another example of a

251
00:14:00.720 --> 00:14:04.919
musing unusual sounds and instruments and an effects.

252
00:14:04.720 --> 00:14:07.919
In with the music, and that that music flowed with

253
00:14:07.960 --> 00:14:11.240
this with the spirits that were on screen, that it

254
00:14:11.399 --> 00:14:13.360
really did flowed beautiful.

255
00:14:14.039 --> 00:14:16.759
Yeah, it's hard to describe it this way, but it

256
00:14:16.840 --> 00:14:20.360
really is. It's a horror film with beautiful music. It

257
00:14:20.440 --> 00:14:22.399
is very just absolutely love of music.

258
00:14:22.639 --> 00:14:26.679
Yeah, absolutely couldn't agree more. All right, Chuck, what is

259
00:14:26.720 --> 00:14:27.480
your number five?

260
00:14:28.000 --> 00:14:31.679
Okay, Well, it's going to come as notice surprise to

261
00:14:31.759 --> 00:14:35.240
anybody who listened to this cinematic flashback that we are

262
00:14:35.279 --> 00:14:41.279
a seventies podcast and I am going to may constrain

263
00:14:41.399 --> 00:14:43.360
myself to movies of the seventies.

264
00:14:44.120 --> 00:14:46.279
Okay, okay, all right.

265
00:14:46.360 --> 00:14:48.840
So imagine that you were living in a society where

266
00:14:48.919 --> 00:14:52.000
everything is taken care for you, but then you start

267
00:14:52.039 --> 00:14:55.240
to realize that this perfect society has a dark secret.

268
00:14:55.679 --> 00:14:57.799
And what if you learned that that coming of age

269
00:14:57.840 --> 00:15:00.440
ceremony you were so looking forward to when you turn

270
00:15:00.600 --> 00:15:04.080
thirty and got renewed and actually it was a form

271
00:15:04.120 --> 00:15:08.600
of population controlled where getting renewed actually meant getting killed.

272
00:15:09.399 --> 00:15:12.039
This is the setup, of course, for nineteen seventy six

273
00:15:12.320 --> 00:15:17.919
Logan's Run starring Michael York. Now. Granted, the movie today

274
00:15:18.399 --> 00:15:21.879
looks as dated as Space Mountain, but the soundtrack is

275
00:15:22.080 --> 00:15:27.720
absolutely unforgettable. It is a combination of electronic music and

276
00:15:27.759 --> 00:15:32.080
a traditional score. The interrogation track is like the love

277
00:15:32.200 --> 00:15:36.720
child of Bernard Hermann's Psycho and Wendy Carlos's Tron. And

278
00:15:36.759 --> 00:15:39.159
I think my favorite track has to be the Sun,

279
00:15:39.519 --> 00:15:43.000
where Logan and Jessica see the world outside for the.

280
00:15:43.039 --> 00:15:43.919
Very first time.

281
00:15:44.519 --> 00:15:48.440
Now, this one may not be everybody's cup of tea

282
00:15:48.639 --> 00:15:53.519
because the electronic music sometimes can be very harsh, But

283
00:15:53.879 --> 00:15:57.840
if you like that Tron soundtrack, you're absolutely going to

284
00:15:57.960 --> 00:16:00.159
love Logan's Run.

285
00:16:00.399 --> 00:16:03.240
Yeah, I mean, it's an unusual movie for one thing.

286
00:16:03.639 --> 00:16:04.480
I love the movie.

287
00:16:04.559 --> 00:16:05.000
I do too.

288
00:16:05.120 --> 00:16:05.879
That's a good movie.

289
00:16:05.960 --> 00:16:07.799
I put that movie off a long time to watch.

290
00:16:07.879 --> 00:16:08.639
I really did, and.

291
00:16:08.559 --> 00:16:10.159
I I gave it to you to watch.

292
00:16:10.200 --> 00:16:10.399
I did.

293
00:16:10.600 --> 00:16:12.600
Have you dodged this? And then I remember the first

294
00:16:12.600 --> 00:16:14.000
time you've got a hold of me after you saw

295
00:16:14.080 --> 00:16:16.159
I was what an incredible score?

296
00:16:16.639 --> 00:16:18.840
Yes it was, I was. I was blown away by

297
00:16:18.879 --> 00:16:23.399
the film and the score. It's a good, good pick there, absolutely, Chuck. Well,

298
00:16:23.519 --> 00:16:27.240
let's move down to number four. Chuck. We'll let you

299
00:16:27.279 --> 00:16:29.320
go first this time. What's your fourth pick?

300
00:16:29.600 --> 00:16:31.960
Okay, Well, I'm not going to come right out and

301
00:16:32.000 --> 00:16:34.039
say it, but I am going to say everyone knows

302
00:16:34.080 --> 00:16:36.320
that the moon landing was faked, right, and it was

303
00:16:36.360 --> 00:16:37.960
all filmed in a studio out in.

304
00:16:37.919 --> 00:16:39.000
The desert somewhere.

305
00:16:39.559 --> 00:16:42.679
Well, that was the inspiration of nineteen seventy seven Peter

306
00:16:42.799 --> 00:16:46.840
Heim's film called Capricorn, one with a great cast that

307
00:16:46.919 --> 00:16:52.360
included Elliott Gould, James Brolin, Hell Holbrook, and oh Jay Simpson.

308
00:16:52.840 --> 00:16:56.000
And it leans really hard into that whole fake moon

309
00:16:56.120 --> 00:16:59.840
landing conspiracy to create a banger of a suspense film.

310
00:17:00.559 --> 00:17:04.680
And Goldsmith's soundtrack is a masterclass that just takes that

311
00:17:04.880 --> 00:17:09.640
tension and keeps ratcheting up. It evokes Mars The Bringer

312
00:17:09.720 --> 00:17:14.160
of War by Gustav Holtsk and there is a lot

313
00:17:14.279 --> 00:17:18.680
to like about this soundtrack. For me, the weakest track

314
00:17:19.160 --> 00:17:23.279
is the disco dance theme of case theme that's in

315
00:17:23.319 --> 00:17:25.480
there and a lot of these seven, a lot of

316
00:17:25.480 --> 00:17:28.720
these seven. It's a great theme, but for me, it's

317
00:17:28.759 --> 00:17:32.440
like The Red if they would have released it separately,

318
00:17:32.519 --> 00:17:36.400
maybe like Sean Cassidy's for another film. So yeah, but

319
00:17:36.559 --> 00:17:41.039
my favorite theme is honestly, the main theme is just

320
00:17:42.039 --> 00:17:44.720
so exciting, you know that you're getting ready to go

321
00:17:44.799 --> 00:17:48.799
on an adventure. And I also like the music that

322
00:17:48.920 --> 00:17:52.079
was playing when the astronauts are breaking out of their

323
00:17:52.519 --> 00:17:57.599
now prison out in the desert and are trying to escape.

324
00:17:57.640 --> 00:18:00.319
I just saw Capricorn one for the very first time

325
00:18:00.400 --> 00:18:05.480
this past summer, and the part of the score that

326
00:18:05.559 --> 00:18:09.359
I have heard was just excerps and overall it is

327
00:18:09.519 --> 00:18:11.519
just a excellent.

328
00:18:11.200 --> 00:18:13.799
Score to get. Yeah, that's a lot of people's favorites.

329
00:18:14.000 --> 00:18:16.200
I've heard that quite a few times. It is a

330
00:18:16.240 --> 00:18:17.799
great score. Yeah.

331
00:18:18.599 --> 00:18:21.799
I saw that movie later in life as well, and

332
00:18:21.839 --> 00:18:24.319
it is definitely a really good film and that the

333
00:18:24.359 --> 00:18:28.519
score is perfect. Again, Goldsmith is a master of what

334
00:18:28.599 --> 00:18:32.359
he does and he's able to provide that in Capricord

335
00:18:32.359 --> 00:18:36.599
Wana as well. So another good pick. All right, Wayne, countdown?

336
00:18:36.680 --> 00:18:37.720
What's your number four?

337
00:18:38.720 --> 00:18:40.759
All right? Most of you probably never even heard of

338
00:18:40.799 --> 00:18:43.519
this film, but my number four pick is The Salamander.

339
00:18:44.359 --> 00:18:46.960
It's kind of a forgotten film that got lost in

340
00:18:46.960 --> 00:18:50.400
the shuffle back in nineteen eighty one. Directed by Peter Zinner,

341
00:18:50.880 --> 00:18:53.799
it was basically known as a film editor. He had

342
00:18:53.839 --> 00:18:57.039
done The Godfather and as well as The Deer Hunter

343
00:18:57.079 --> 00:19:00.640
and The Star Is Born. It's based on a best novel.

344
00:19:01.000 --> 00:19:04.799
It starred Franko Niro, who plays policemen investigating the murders

345
00:19:05.119 --> 00:19:08.200
of some very important people, where his only clues is

346
00:19:08.240 --> 00:19:11.160
a card with a drawing of a salamander left behind

347
00:19:11.200 --> 00:19:15.640
in each murder. The film also stars Anthony Quinn, Sybil Danning,

348
00:19:15.720 --> 00:19:19.839
and Christopher Lee. It was critically panned and mostly ignored

349
00:19:19.880 --> 00:19:24.160
by moviegoers back then, and it's usually remembered by the

350
00:19:24.400 --> 00:19:26.559
because of the big fight scene in the middle where

351
00:19:26.559 --> 00:19:30.599
the hero is wrestling this giant wearing nothing but a jockstrap.

352
00:19:30.720 --> 00:19:35.640
But that being said, okay, the film does have one

353
00:19:35.799 --> 00:19:39.960
incredible thing going for it, and that's the score. This

354
00:19:40.000 --> 00:19:42.640
is a film that I only recently saw about, I say,

355
00:19:42.680 --> 00:19:45.400
about ten years ago. I never even heard of the film.

356
00:19:45.440 --> 00:19:48.119
I mean seriously, it was just a name on a

357
00:19:48.359 --> 00:19:51.799
list of Goldsmith scores that he had done. And the

358
00:19:51.839 --> 00:19:54.519
reason I'd never heard it well, it rarely ever got

359
00:19:54.559 --> 00:19:57.799
played on television. But it's a lost score of Jerry Goldsmith's.

360
00:19:58.400 --> 00:20:01.039
There was no soundtrack release back in nineteen eighty one,

361
00:20:01.559 --> 00:20:06.359
and the master tapes that the original recording have gone missing. Yeah,

362
00:20:06.720 --> 00:20:09.640
unfortunately that's true with a few of his scores. But

363
00:20:09.799 --> 00:20:13.960
back in twenty thirteen, conductor Nick Rain and the City

364
00:20:14.000 --> 00:20:19.519
of Prague Philharmonic Orchestra re recorded the score perfectly, you

365
00:20:19.559 --> 00:20:22.079
know they did it, had to reconstruct it by ear

366
00:20:23.160 --> 00:20:29.640
and it is absolutely incredible. One that is overlooked. It's forgotten,

367
00:20:29.759 --> 00:20:32.319
but it needs to be heard. It is just incredible.

368
00:20:32.799 --> 00:20:36.480
And my favorite cue is definitely the final cue of it,

369
00:20:36.519 --> 00:20:40.119
the goodbye and in titles. It is pure Jerry Goldsmith

370
00:20:40.160 --> 00:20:43.880
at his finest. Everything is his signature sound and it's

371
00:20:43.920 --> 00:20:48.480
a beautiful accordion, light orchestra and then it moves into

372
00:20:48.720 --> 00:20:54.960
a huge brassy outburst strings. Just the entire score is

373
00:20:55.200 --> 00:20:58.240
everything you love from Jerry Goldsmith. You'll just fall in

374
00:20:58.240 --> 00:20:59.119
love if you listen to it.

375
00:21:00.079 --> 00:21:02.440
I'm one of the people who've never heard of the Salamander,

376
00:21:02.480 --> 00:21:06.119
So now you're describing it, I want to go see it.

377
00:21:06.200 --> 00:21:08.079
I am kind of worried about that scene you're talking about,

378
00:21:08.119 --> 00:21:10.759
but it still sounds like something I want to see.

379
00:21:11.039 --> 00:21:12.759
It's not a bad film. I mean, it's not not

380
00:21:12.880 --> 00:21:14.599
the greatest, but it's it's not a bad film. It's

381
00:21:14.680 --> 00:21:17.960
very entertaining. It's a beautifully shotgun. Yeah, and the score

382
00:21:18.160 --> 00:21:19.440
just it's it's worth watching.

383
00:21:19.480 --> 00:21:21.599
Just a listen, Wayne, And I just wanted to point

384
00:21:21.640 --> 00:21:25.079
out thank you for bringing up the City of Proc

385
00:21:25.160 --> 00:21:29.839
Philharmonic Orchestra. They do some really great work and if

386
00:21:29.880 --> 00:21:35.039
you do not have access to the entire score of

387
00:21:35.079 --> 00:21:39.359
a particular film, they have done a great job in

388
00:21:39.720 --> 00:21:45.160
making CDs or musics with excerpts from the films, and

389
00:21:45.200 --> 00:21:48.799
it's usually going to highlight the main themes of of

390
00:21:48.960 --> 00:21:54.000
a movie. And they have a a I don't know

391
00:21:54.000 --> 00:21:55.799
how many CDs it would be because I listened to

392
00:21:55.839 --> 00:21:58.759
it a lot on Spotify, but it's the film music

393
00:21:58.759 --> 00:22:02.519
of Jerry Goldsmith, and if you want to get just

394
00:22:02.680 --> 00:22:08.359
being a broad overview of the depth of his work,

395
00:22:08.440 --> 00:22:12.160
that is a great thing to go and listen to and.

396
00:22:12.240 --> 00:22:14.640
Over the last ten years they have done a lot

397
00:22:14.759 --> 00:22:17.960
of reconstructing these scores, not just Goldsmith's but other composers.

398
00:22:19.039 --> 00:22:22.000
They I mean, they listen to the scores, they write it,

399
00:22:22.119 --> 00:22:25.759
they take notes, they make sure that it's performed exactly

400
00:22:25.799 --> 00:22:28.599
as the composer had originally done it. You know, not

401
00:22:28.640 --> 00:22:32.039
only did they do the Salamander, but they've also done

402
00:22:32.119 --> 00:22:35.640
the entire score for QB seven, a mini series that

403
00:22:35.680 --> 00:22:38.839
Goldsmith did, and Hour of the Gun plus as well

404
00:22:38.839 --> 00:22:42.559
as I believe twelve episodes of his TV series Thriller,

405
00:22:42.920 --> 00:22:46.680
which is outstanding music. I'm glad that, you know, even

406
00:22:46.680 --> 00:22:48.720
though it's not the original, we have a chance to

407
00:22:48.759 --> 00:22:50.799
finally listen to this separate from the vision.

408
00:22:51.000 --> 00:22:54.480
It's wonderful that we have people who do things like

409
00:22:54.519 --> 00:22:58.279
that to save music that you know, somehow they got

410
00:22:58.359 --> 00:22:59.680
rid of because they used to do that all the

411
00:22:59.720 --> 00:23:01.480
time when you know BBC did that a lot. They

412
00:23:01.480 --> 00:23:03.480
would just get rid of the tapes and see you later.

413
00:23:03.799 --> 00:23:05.200
You know, we're not going to have it. No one

414
00:23:05.200 --> 00:23:10.480
wants that. Yeah we do, Yes we do. And unfortunately

415
00:23:10.519 --> 00:23:13.680
some stuff got lost the time and probably is good

416
00:23:13.759 --> 00:23:17.240
gone for good. So it's it's nice that you have

417
00:23:17.440 --> 00:23:20.240
someone who can go back and listen. I'm sure it's

418
00:23:20.240 --> 00:23:24.880
a lot of tedious work that, oh my goodness.

419
00:23:24.559 --> 00:23:28.640
But there their their compilations are excellent, and you know,

420
00:23:29.000 --> 00:23:32.279
just subscribe to them and listen.

421
00:23:32.519 --> 00:23:33.319
They're good.

422
00:23:33.599 --> 00:23:33.920
Yeah.

423
00:23:34.000 --> 00:23:36.480
And if anyone wants to hear that title or that

424
00:23:36.519 --> 00:23:38.920
track that I said about the Salamander, it is on

425
00:23:39.000 --> 00:23:43.400
YouTube with the U the City of Philharmonic playing it

426
00:23:43.640 --> 00:23:46.279
for the CD. It's an incredible thing. You can actually

427
00:23:46.359 --> 00:23:47.559
watch them perform it.

428
00:23:48.640 --> 00:23:49.839
All right, there you go, listeners.

429
00:23:50.240 --> 00:23:51.240
I've made my notes.

430
00:23:51.480 --> 00:23:55.119
Yeah, absolutely, all right. Well, before we continue on with

431
00:23:55.240 --> 00:23:59.319
our third pick, let's talk briefly about Jerry Goldsmith's work

432
00:23:59.599 --> 00:24:04.079
until as we know, he did do quite a bit there, Chuck,

433
00:24:04.119 --> 00:24:07.039
I know you mentioned one, and I will bring that

434
00:24:07.119 --> 00:24:10.359
up again. When I was a little kid, I watched

435
00:24:10.400 --> 00:24:13.359
a lot of reruns of The Waltons with my mom,

436
00:24:14.279 --> 00:24:17.160
and that made that series very special to me, and

437
00:24:17.240 --> 00:24:20.440
I loved the theme to The Waltons. At that time,

438
00:24:20.480 --> 00:24:22.920
as a kid, I didn't know who Jerry Goldsmith was

439
00:24:23.079 --> 00:24:25.759
or you know, how important music was. I just knew

440
00:24:26.200 --> 00:24:28.960
that theme stuck in my head and anytime I heard it,

441
00:24:29.000 --> 00:24:30.920
I knew what was coming. I was going to get,

442
00:24:31.079 --> 00:24:35.160
you know, a great story about a family. And when

443
00:24:35.200 --> 00:24:37.519
I got older, I just like you, I realized started

444
00:24:37.559 --> 00:24:41.279
putting those dots together and realized Jerry Goldsmith was the

445
00:24:41.279 --> 00:24:44.000
one who did that. And that has become one of

446
00:24:44.000 --> 00:24:47.799
my favorite television themes is because of Jerry Goldsmith and

447
00:24:47.839 --> 00:24:51.000
those memories that I have. Wayne, I know you've got

448
00:24:51.000 --> 00:24:53.119
some television that you love that he did.

449
00:24:53.400 --> 00:24:55.880
Oh yeah, I'm glad you brought up The Waltons because

450
00:24:56.319 --> 00:25:00.039
I was actually almost my number four pick because I

451
00:25:00.000 --> 00:25:01.759
I love the music for that series, not just the

452
00:25:02.920 --> 00:25:06.319
incidentals that he did. He excelled at scoring that type

453
00:25:06.319 --> 00:25:09.960
of Americana music. It was the perfect venue for him

454
00:25:10.000 --> 00:25:12.000
to create some of his best work in that style.

455
00:25:12.480 --> 00:25:16.400
He also scored the two hour TV pilot The Homecoming

456
00:25:16.480 --> 00:25:18.960
for The Waltons before he did the first season. He

457
00:25:19.000 --> 00:25:21.920
only did the first season, though I believe it was

458
00:25:22.039 --> 00:25:24.240
I believe he scored six or seven of the episodes.

459
00:25:24.680 --> 00:25:25.359
But it's just.

460
00:25:25.480 --> 00:25:30.759
Absolutely incredible, and The Homecoming is available on CD. But unfortunately,

461
00:25:31.480 --> 00:25:34.200
just like we got mentioning with the Salamander, the tapes

462
00:25:34.240 --> 00:25:37.680
for his scores for The Waltons have been completely destroyed,

463
00:25:37.680 --> 00:25:41.160
and this time we know they have been destroyed. Unfortunately,

464
00:25:41.279 --> 00:25:44.480
Hallmark when they bought the series and its rights back

465
00:25:44.519 --> 00:25:48.480
in nineteen ninety, they destroyed everything, including the master tastes

466
00:25:48.519 --> 00:25:51.119
for the episodes, so that we can't get any high

467
00:25:51.160 --> 00:25:54.359
definition versions of the episodes. But there is hope that

468
00:25:54.640 --> 00:25:58.759
Introder Records is considering re recording having the City of

469
00:25:58.799 --> 00:26:02.680
Prague record this score. The scores that he did for

470
00:26:02.720 --> 00:26:05.920
his TV series should be very soon. I think I

471
00:26:06.559 --> 00:26:07.079
can't wait.

472
00:26:07.880 --> 00:26:10.440
And that's a shout out to Intrada as well. They

473
00:26:10.559 --> 00:26:13.640
have done a lot of work in the soundtrack world

474
00:26:14.160 --> 00:26:17.359
for a very long time. Wayne, you and I Chuck.

475
00:26:17.400 --> 00:26:20.960
I'm sure you two have gotten some lovely CDs from

476
00:26:20.960 --> 00:26:24.240
Intrada over the years, who have saved music have brought

477
00:26:24.240 --> 00:26:26.839
out special editions that you would never have gotten before

478
00:26:27.119 --> 00:26:29.680
if it wasn't for them. So definitely a shout out

479
00:26:29.720 --> 00:26:30.400
to Intrata.

480
00:26:30.680 --> 00:26:32.960
Yes, there's so many great scores that I thought we

481
00:26:33.000 --> 00:26:37.279
would never get. The six disc Amazing Stories set is

482
00:26:37.279 --> 00:26:39.200
probably one of my favorite, and that included a score

483
00:26:39.240 --> 00:26:43.200
by Goldsmith. You did an episode from that series, Capricorn

484
00:26:43.240 --> 00:26:46.039
One's another one that was brought from them. Echine. There's

485
00:26:46.119 --> 00:26:49.400
just so many great Goldsmith scores and other composers that

486
00:26:49.400 --> 00:26:51.319
Intrada has brought to us, and we thank them so

487
00:26:51.480 --> 00:26:51.920
much for that.

488
00:26:52.200 --> 00:26:56.160
Yeah. Absolutely. I know he did the band from Uncle,

489
00:26:57.720 --> 00:27:03.359
the Twilight Zone Jones, which is another wonderful series. I

490
00:27:03.400 --> 00:27:05.039
believe he even did some gun Smoke, did he not?

491
00:27:05.359 --> 00:27:05.799
He did?

492
00:27:06.400 --> 00:27:08.759
Yeah, So think of look at all that stuff that

493
00:27:08.799 --> 00:27:11.880
he has touched over the years. It's very similar to

494
00:27:11.960 --> 00:27:15.400
what John Williams had done. But you know, just a

495
00:27:15.440 --> 00:27:18.720
fantastic career that Goldsmith had that you didn't realize until

496
00:27:18.720 --> 00:27:21.960
you got older what all he has done, you know.

497
00:27:22.440 --> 00:27:24.039
Going back to you know Wayne, I know you kind

498
00:27:24.039 --> 00:27:26.400
of mentioned a little bit of him getting his start

499
00:27:27.000 --> 00:27:33.000
in nineteen fifty with CBS and he worked with under

500
00:27:33.160 --> 00:27:38.799
director lud Gluskin, who he worked under. Apparently he did

501
00:27:38.839 --> 00:27:41.880
like the CBS Radio Workshop, which you said, Frontier, Gentleman

502
00:27:41.920 --> 00:27:44.720
and Romance were some of the ones that he had done.

503
00:27:45.200 --> 00:27:47.240
You touched a little bit on the quote that he

504
00:27:47.400 --> 00:27:50.079
had and I'm going to read the whole quote that

505
00:27:50.119 --> 00:27:53.039
was from him. He says it was about nineteen fifty

506
00:27:53.119 --> 00:27:55.839
CBS had a workshop and once a week the employee

507
00:27:56.319 --> 00:27:59.559
whatever their talents where they were ushers or typist, would

508
00:27:59.599 --> 00:28:02.640
produce radio show, but you had to be an employee.

509
00:28:03.240 --> 00:28:05.559
They needed someone to do music, and I knew someone

510
00:28:05.599 --> 00:28:07.960
there who said I'd be greatful this. I'd just gotten

511
00:28:08.000 --> 00:28:11.200
married and needed a job, so they faked a typing

512
00:28:11.240 --> 00:28:14.039
test for me. Then I could do these shows. About

513
00:28:14.039 --> 00:28:16.359
six months later, the music department heard what I did,

514
00:28:16.880 --> 00:28:20.359
liked it, and gave me a job. Well, I'm telling

515
00:28:20.400 --> 00:28:22.200
you what they're the rest is history, right.

516
00:28:22.839 --> 00:28:27.400
Oh yeah, that's so great that they found him, because

517
00:28:27.440 --> 00:28:30.799
he's just delivered to so many incredible themes all these

518
00:28:30.880 --> 00:28:32.960
television shows, including Star Trek Voyager.

519
00:28:33.599 --> 00:28:36.599
Of course, yes, we cannot forget Star Trek. We are

520
00:28:36.680 --> 00:28:40.400
faser set this done here, so cannot forget Star Trek

521
00:28:40.440 --> 00:28:43.119
at all. Any other memories Jock for television or anything

522
00:28:43.119 --> 00:28:44.400
from Jerry Goldsmith.

523
00:28:44.359 --> 00:28:47.599
You guys had had nailed them all. The one that

524
00:28:47.759 --> 00:28:51.119
I remember was the theme from the Man from Uncle.

525
00:28:51.240 --> 00:28:57.160
My dad also had that album along with the Peter Gunn.

526
00:28:57.319 --> 00:29:00.880
I don't recall who did Peter Gunn? Who is that one?

527
00:29:00.960 --> 00:29:04.240
Do you know? I was hitting and seeing I believe.

528
00:29:04.119 --> 00:29:06.039
Yeah, I men't seen it. I should have known that one.

529
00:29:06.680 --> 00:29:09.039
But yeah, they they had a lot of the kind

530
00:29:09.079 --> 00:29:13.920
of the cool TV show albums back in the day,

531
00:29:14.200 --> 00:29:17.200
and I remember I had no idea that was though.

532
00:29:17.279 --> 00:29:19.799
I had no idea that was Jerry Goldsmith at the time.

533
00:29:19.799 --> 00:29:21.759
And I'm not sure why they didn't connect that dot

534
00:29:21.839 --> 00:29:25.440
for me as well, but I think that's really neat.

535
00:29:25.519 --> 00:29:31.079
I used to love watching thriller gun Smoke was still

536
00:29:31.119 --> 00:29:35.960
on a regular viewing in our home. And again, it's

537
00:29:36.000 --> 00:29:39.319
just great to learn that he had his hand in

538
00:29:39.400 --> 00:29:42.480
the in those soundtracks, so I'm looking forward to hearing them.

539
00:29:42.880 --> 00:29:46.640
And he did score one sitcom series called Room two

540
00:29:46.640 --> 00:29:49.359
twenty two. I recently got to see the episodes that

541
00:29:49.400 --> 00:29:52.160
he scored. It's it's interesting, you know, he did a

542
00:29:52.200 --> 00:29:55.160
fantastic job. It's just unusual to hearing him to do

543
00:29:55.240 --> 00:29:58.039
something do something like that. It's great though.

544
00:29:59.079 --> 00:30:01.720
I guess that's check that I've never heard of that, so.

545
00:30:01.680 --> 00:30:03.480
It was very popular series back then too.

546
00:30:04.440 --> 00:30:07.480
All right, well, let's continue with our top five. We

547
00:30:07.599 --> 00:30:12.000
are down to number three, Wayne, what is your third pick?

548
00:30:12.759 --> 00:30:15.559
This one is at the top of most people's lists

549
00:30:15.599 --> 00:30:36.240
and it deserves it. The Blue Max. This is an

550
00:30:36.319 --> 00:30:39.559
incredible film. I remember seeing this film for the first

551
00:30:39.599 --> 00:30:43.119
time back in the late nineties because I found the score.

552
00:30:43.160 --> 00:30:45.799
I found the CD score and I listened to it

553
00:30:46.200 --> 00:30:49.640
and was just absolutely blown away by how incredible, how

554
00:30:49.759 --> 00:30:53.240
beautiful the music was. And I said, and I watched

555
00:30:53.279 --> 00:30:55.920
all three and a half hours of that film. It

556
00:30:56.039 --> 00:31:02.079
really drags on as a film, but the music areas it.

557
00:31:02.200 --> 00:31:05.559
This is This is the score that got many of

558
00:31:05.559 --> 00:31:10.920
the producers and studio heads in Hollywood to stand up

559
00:31:10.960 --> 00:31:13.720
and say, Hey, this guy might be going somewhere, let's

560
00:31:13.799 --> 00:31:20.720
hire him. It's deserved. This score is, in my opinion,

561
00:31:20.839 --> 00:31:25.160
one of his top best. We've definitely a lot of

562
00:31:25.160 --> 00:31:27.039
effort was put into it as a very long score,

563
00:31:27.079 --> 00:31:31.079
and it's been released numerous times on different labels. It's

564
00:31:31.079 --> 00:31:34.240
still out there. Just came out recently on the Wonderful

565
00:31:34.279 --> 00:31:37.880
While a Land Records Jerry Goldsmith at twentieth Volume one.

566
00:31:38.400 --> 00:31:42.880
It's complete, it's it's remastered, just absolutely fantastic. And my

567
00:31:42.880 --> 00:31:46.240
favorite track on it is called the Retreat, very long track.

568
00:31:46.480 --> 00:31:50.000
Eight minutes. You know he just he switches into triple

569
00:31:50.079 --> 00:31:53.519
meter for this powerful cube. It's heard during the main

570
00:31:53.680 --> 00:31:58.079
battle sequence. It's the World War II film and in

571
00:31:58.119 --> 00:32:01.359
the middle of the film. It has this mongous battles

572
00:32:01.359 --> 00:32:04.680
seen with thousands of extras, and and it keeps switching

573
00:32:04.720 --> 00:32:08.119
back from the ground battle to the the air battle

574
00:32:08.160 --> 00:32:12.440
without even having a cut, and he's this music is

575
00:32:12.440 --> 00:32:20.720
playing over. It's just powerful, powerful percussion and military drum

576
00:32:20.759 --> 00:32:24.119
which starts off with the cube with nebrass comes in.

577
00:32:25.000 --> 00:32:26.920
There's just so much great music to the score. It's

578
00:32:26.960 --> 00:32:31.319
no wonder that everyone said, Hey, Goldsmith's the person.

579
00:32:31.079 --> 00:32:35.599
To hire after clearly right the decision.

580
00:32:35.799 --> 00:32:38.240
Blue Max's is that's an excellent choice.

581
00:32:38.680 --> 00:32:41.960
Uh. My introduction to that score was.

582
00:32:42.079 --> 00:32:45.680
At a summer event at a local airfield that has

583
00:32:46.359 --> 00:32:52.079
different U error aircraft and they during the summer they

584
00:32:52.119 --> 00:32:57.640
have a orchestra come out and play selections from movies

585
00:32:57.680 --> 00:33:02.079
that go along with with the type of airplane that

586
00:33:02.240 --> 00:33:06.319
was being flown in the film. So you know, for example,

587
00:33:08.039 --> 00:33:10.799
they would play Cadillac of the Sky, so that's from

588
00:33:10.880 --> 00:33:13.200
John William's Empire the Sun, and then they would have

589
00:33:13.359 --> 00:33:18.039
you know, a Mustang fly around. And my wife was

590
00:33:18.039 --> 00:33:21.880
playing in the orchestra that they had hired to play

591
00:33:21.920 --> 00:33:24.440
for two summers, and so I got to go out

592
00:33:24.480 --> 00:33:29.119
there and both years they played selections from the Blue Max.

593
00:33:30.559 --> 00:33:32.680
Very nice. I would have never got to hear the

594
00:33:32.680 --> 00:33:35.680
Blue Max if it wasn't for Wayne and Wayne. You

595
00:33:35.680 --> 00:33:37.759
and I used to go on long road trips. We

596
00:33:37.839 --> 00:33:41.519
would go to conventions in the late nineties, and I

597
00:33:41.559 --> 00:33:46.039
remember we'd always have these books full of CDs, yeah,

598
00:33:46.160 --> 00:33:49.079
because you know, you didn't have streaming back then, and

599
00:33:49.200 --> 00:33:52.079
we would just play those CDs. And I remember you

600
00:33:52.240 --> 00:33:54.039
playing the Blue Max for me, and I was like,

601
00:33:54.039 --> 00:33:57.079
what the heck is the Blue Max? And then when

602
00:33:57.079 --> 00:33:58.759
I listened to the score, I'm like, wow, this is

603
00:33:58.880 --> 00:34:02.000
really impressive for a movie I had never even heard of.

604
00:34:02.880 --> 00:34:04.799
So yes, yeah, I remember quite a few of those.

605
00:34:05.240 --> 00:34:06.920
I remember going and said, oh no, hey David, you

606
00:34:06.920 --> 00:34:09.199
got to listen to this. Yeah, oh this is great. Yeah.

607
00:34:09.280 --> 00:34:13.679
Yeah. You were like my drug guy, my drug dealer,

608
00:34:13.840 --> 00:34:16.239
give me the ces, you know here, listen to this,

609
00:34:16.360 --> 00:34:19.679
listen to this, and you've given me some great pieces

610
00:34:19.679 --> 00:34:21.079
of music over the years. So I have you to

611
00:34:21.079 --> 00:34:21.559
think for that.

612
00:34:21.679 --> 00:34:23.480
Absolutely, the first one's free.

613
00:34:23.760 --> 00:34:29.400
Yes, that's right, that's right, all right, Chuck. What is

614
00:34:29.440 --> 00:34:30.199
your number three?

615
00:34:30.480 --> 00:34:34.320
Okay, so you found out that your spouse, who happens

616
00:34:34.320 --> 00:34:38.280
to be a US ambassador has unknowingly replaced your son

617
00:34:38.360 --> 00:34:42.119
that died shortly after birth with another child and pass

618
00:34:42.159 --> 00:34:44.239
it off as your own. Oh yeah, And as this

619
00:34:44.360 --> 00:34:47.199
kid starts to grow up, some really, really weird stuff

620
00:34:47.239 --> 00:34:50.599
starts happening everywhere this kid goes. And on top of that,

621
00:34:50.679 --> 00:34:53.039
he has these three nines on top of his head.

622
00:34:53.800 --> 00:34:57.280
Of course, I am talking about Richard Donner's nineteen seventy

623
00:34:57.320 --> 00:35:29.119
six scary as all get out film, The Omen. This

624
00:35:29.920 --> 00:35:32.079
is like right up there with The Exorcists for me

625
00:35:32.360 --> 00:35:36.280
of films that I don't watch often, and when I do,

626
00:35:36.559 --> 00:35:40.639
it's definitely The Willies for me. But the Omen soundtrack

627
00:35:40.840 --> 00:35:45.159
is excellent from start to finish. Goldsmith was struggling with

628
00:35:45.320 --> 00:35:48.440
the idea of like, Okay, what do I write about this?

629
00:35:48.599 --> 00:35:51.199
And then one night he declares to his wife Carol

630
00:35:51.480 --> 00:35:55.960
that he has heard voices, and from there the resulting

631
00:35:56.000 --> 00:36:00.760
score featured strong choral segments and foreboding Latin cham The

632
00:36:00.800 --> 00:36:04.400
film's main theme, Ave Santania, is a kind of satanic

633
00:36:04.440 --> 00:36:08.719
Gregorian chant, and to be honest, it really is disturbing,

634
00:36:09.079 --> 00:36:11.960
and when you listen to it today, it seems like

635
00:36:12.039 --> 00:36:14.880
that this is the logical choice.

636
00:36:14.519 --> 00:36:15.079
For the film.

637
00:36:15.119 --> 00:36:16.000
It just makes sense.

638
00:36:16.079 --> 00:36:19.519
But at the time it was a revelation. And because

639
00:36:19.519 --> 00:36:22.840
of this, as we've already mentioned, he won his one

640
00:36:23.079 --> 00:36:28.280
and only Academy Award for Best Original Score for this movie.

641
00:36:28.679 --> 00:36:31.320
And what's really hard is that if you want to

642
00:36:31.360 --> 00:36:35.119
get a physical copy of the CD for this, you're

643
00:36:35.199 --> 00:36:38.960
going to pay a lot because it's out of print

644
00:36:39.199 --> 00:36:42.440
and it's one of the expensive ones.

645
00:36:42.760 --> 00:36:43.000
Yeah.

646
00:36:43.199 --> 00:36:44.760
Actually, do you have.

647
00:36:44.760 --> 00:36:45.639
That one in your collection?

648
00:36:46.360 --> 00:36:48.440
I do. I have two copies of it, two different

649
00:36:48.440 --> 00:36:51.239
for I at the very Sarah band and then the

650
00:36:51.280 --> 00:36:53.480
recent I think it was quartet that brought it out,

651
00:36:53.480 --> 00:36:56.159
and they're both Yes, they're both out of print, although

652
00:36:56.360 --> 00:36:58.519
I expect it to be released very soon. It's one

653
00:36:58.559 --> 00:37:00.760
of the scores that comes out of few years. It's

654
00:37:00.840 --> 00:37:01.800
just too popular.

655
00:37:02.400 --> 00:37:04.400
I read a h or I listened to a review

656
00:37:04.760 --> 00:37:13.679
of the The Blood Splatter vinyl mm hmmm, and uh.

657
00:37:14.119 --> 00:37:18.159
They said that the music is great, but they didn't

658
00:37:18.360 --> 00:37:22.519
like the way that the vinyl kind of messed with

659
00:37:22.599 --> 00:37:25.400
the splattering, kind of messed with the needle.

660
00:37:25.880 --> 00:37:26.559
Uh.

661
00:37:26.239 --> 00:37:29.320
And they thought that that it wasn't very well balanced.

662
00:37:29.559 --> 00:37:33.880
Oh that makes sense. Hmm. Interesting, And it's funny that

663
00:37:34.079 --> 00:37:36.119
this is the score that won him the Academy Award too.

664
00:37:36.519 --> 00:37:39.280
Yeah, deserve. They had to give it to him. I

665
00:37:39.280 --> 00:37:41.519
mean you know that at that time they were giving

666
00:37:41.559 --> 00:37:44.280
it scores that that were doing things different, that was

667
00:37:44.360 --> 00:37:47.360
that were breakthrough scores, you know, change the way music

668
00:37:47.440 --> 00:37:49.599
was written, and the OMEN definitely changed the way we

669
00:37:49.599 --> 00:37:53.199
looked at a horror music. You think about all the

670
00:37:53.239 --> 00:37:56.239
scores that came after that, with its choir and its

671
00:37:56.320 --> 00:37:58.199
chanting and stuff that you can trace that all the

672
00:37:58.239 --> 00:37:59.159
way back in Jerry.

673
00:37:58.960 --> 00:38:02.280
Goldsmith, Yeah, Emmonyville Horror touched on that. He said, a

674
00:38:02.320 --> 00:38:05.440
lot of movies after that started touch that because it worked, Chuck,

675
00:38:05.639 --> 00:38:08.519
Just like you said, you know, this was breaking new

676
00:38:08.559 --> 00:38:11.159
ground back then. You know, people had not really heard this.

677
00:38:11.400 --> 00:38:14.159
So you know today it's common. You know, we we

678
00:38:14.199 --> 00:38:16.639
hear it all the time. Back then not so much.

679
00:38:17.360 --> 00:38:20.239
Yeah, well another thing, and it's uh and I just

680
00:38:20.280 --> 00:38:23.320
thought of this, but you think, uh for me, I

681
00:38:23.360 --> 00:38:26.239
can kind of now see a thread that started in

682
00:38:26.320 --> 00:38:26.880
the OMEN.

683
00:38:27.320 --> 00:38:29.400
But this this chant and this.

684
00:38:29.440 --> 00:38:35.119
Quarrel corral uh all the way to uh Poultergeist. Oh yeah,

685
00:38:35.199 --> 00:38:39.360
and now it's little children singing and either way it's

686
00:38:39.599 --> 00:38:41.360
creepy as it is all get out.

687
00:38:41.599 --> 00:38:41.800
Yeah.

688
00:38:41.880 --> 00:38:44.639
Oh yeah, I can't listen to the omen at night.

689
00:38:44.719 --> 00:38:49.960
I have to be light out when I'm listening to it.

690
00:38:48.519 --> 00:38:51.559
Just shows you the master that Jerry Goldsmith is. See there.

691
00:38:51.760 --> 00:38:56.960
Yeah, some movies, uh there are there are some scores

692
00:38:57.599 --> 00:39:01.039
where it just elevates the the film would have been

693
00:39:01.679 --> 00:39:04.719
would have been a success, I would imagine, But there

694
00:39:04.719 --> 00:39:08.840
are some scores that elevate it up. And having the

695
00:39:08.920 --> 00:39:15.519
right composer can make all the difference between a bomb

696
00:39:15.800 --> 00:39:17.000
and just a hit.

697
00:39:17.800 --> 00:39:20.639
Yeah, Spielberg will tell you that that's what happened with

698
00:39:20.719 --> 00:39:24.159
Jaws and John Williams. For sure.

699
00:39:25.199 --> 00:39:26.360
He made two notes.

700
00:39:26.480 --> 00:39:32.360
It's two notes. Yeah, no, good picks, good picks. All right,

701
00:39:32.440 --> 00:39:36.719
let's move down to number two, Chuck, what is yours?

702
00:39:37.239 --> 00:39:42.079
Well, speaking of picking the wrong guy, how would you

703
00:39:42.239 --> 00:39:44.400
like to get a phone call from work and they

704
00:39:44.440 --> 00:39:46.239
tell you that the guy who has been working on

705
00:39:46.320 --> 00:39:50.079
your project was totally tanking it and could you come

706
00:39:50.119 --> 00:39:53.719
in and save it at the eleventh hour. Sure, they've

707
00:39:53.760 --> 00:39:56.239
been working on this for months, but you've got that

708
00:39:56.400 --> 00:39:59.199
can do attitude. You roll up your sleeves. In just

709
00:39:59.320 --> 00:40:01.760
ten days, you seal the deal, and you knock it

710
00:40:01.840 --> 00:40:04.960
out of the park. And that was the situation that

711
00:40:05.079 --> 00:40:09.159
Jerry Goldsmith came into on Roman Polanski's nineteen seventy four

712
00:40:09.280 --> 00:40:11.440
film Chinatown.

713
00:40:13.920 --> 00:40:16.960
Forget I can't gains Chinatown.

714
00:40:18.320 --> 00:40:21.800
All right, come on, play the area on the thig.

715
00:40:21.639 --> 00:40:22.119
Walk.

716
00:40:24.239 --> 00:40:24.639
On the.

717
00:40:28.000 --> 00:40:32.559
Get up, Get Up.

718
00:40:43.920 --> 00:40:48.239
So Goldsmith's score captures the mood of this film perfectly.

719
00:40:48.719 --> 00:40:52.719
He replaced the original composer, who was Philip Lambro, and

720
00:40:52.800 --> 00:40:56.800
all the Polanski was happy with the music that Lambro

721
00:40:57.440 --> 00:41:00.800
was writing, it turned out that test screening weren't going

722
00:41:00.840 --> 00:41:03.440
well and all the feedback that they were getting was

723
00:41:03.480 --> 00:41:08.599
saying the same thing, the music stinks. And Lambro was fired.

724
00:41:09.159 --> 00:41:12.760
And so you can still hear his original Lambro's music

725
00:41:12.920 --> 00:41:15.920
in the score of the trailer, because when they released

726
00:41:15.920 --> 00:41:19.400
the trailer, Goldsmith hadn't finished anything yet and so they

727
00:41:19.400 --> 00:41:21.400
had to get the trailer out. But that's the only

728
00:41:21.480 --> 00:41:24.760
place where you can hear it. Personally, I just absolutely

729
00:41:24.800 --> 00:41:27.679
adore the trumpet solo and the love theme from Chinatown.

730
00:41:27.840 --> 00:41:31.639
It's just big, it's fat, it's for romantic. You know,

731
00:41:31.719 --> 00:41:36.559
you're in for a really good neo noir film, and

732
00:41:37.239 --> 00:41:40.480
this soundtrack really hits it out of the park.

733
00:41:40.559 --> 00:41:40.800
For me.

734
00:41:41.800 --> 00:41:45.639
Chinatown is a master of many things, and a movie

735
00:41:45.719 --> 00:41:48.519
is one, the music is another, the script is another.

736
00:41:49.159 --> 00:41:51.360
A lot of people who want to learn how to

737
00:41:51.440 --> 00:41:55.719
make a great, solid film looks at Chinatown quite a lot.

738
00:41:56.719 --> 00:41:59.360
I learned scriptwriting from Sidfield, and he always referred to

739
00:41:59.440 --> 00:42:02.719
Chinatown when it came to scriptwriting. The music is the

740
00:42:02.760 --> 00:42:07.119
same way, and Goldsmith definitely brought his a game for

741
00:42:07.199 --> 00:42:10.440
this movie and helped it even more. Yeah.

742
00:42:10.519 --> 00:42:13.559
I can't imagine the film without that music. That's score.

743
00:42:13.639 --> 00:42:15.880
It's just that they fit so perfectly together.

744
00:42:16.239 --> 00:42:18.199
The way that he was able to get that music,

745
00:42:18.519 --> 00:42:22.239
to get the music out so quickly is that instead

746
00:42:22.239 --> 00:42:26.039
of going for a large orchestral piece, he really pared

747
00:42:26.079 --> 00:42:32.239
down the instrumentation to a very minimal size of players.

748
00:42:32.599 --> 00:42:34.079
And I think that was a good decision. I mean,

749
00:42:34.119 --> 00:42:38.079
it made decision he needed to, but it was perfect

750
00:42:38.079 --> 00:42:42.639
for the film. It was economical and it just made it.

751
00:42:42.639 --> 00:42:45.960
It fit, it did and it paid off well. Wayne.

752
00:42:46.159 --> 00:42:47.159
What's your number two?

753
00:42:47.880 --> 00:42:51.079
I think this one's going to be pretty obvious, considering

754
00:42:51.119 --> 00:42:52.760
the fact that you hear me all the time on

755
00:42:52.840 --> 00:42:56.079
Phaser set a stunt. So my number two pick is

756
00:42:56.119 --> 00:43:30.519
Star Trek the motion picture. I won't go into too

757
00:43:30.599 --> 00:43:32.599
much detail on this score because you know, we talked

758
00:43:32.599 --> 00:43:35.360
to death about it during the film at forty five

759
00:43:35.440 --> 00:43:38.599
paces Set to Sun podcast, I will say that Goldsmith

760
00:43:38.719 --> 00:43:42.360
was at his best when he composed it, and he

761
00:43:42.480 --> 00:43:44.599
was also under a lot of pressure to get it

762
00:43:44.599 --> 00:43:48.679
done on time, which usually, just as we mentioned with Chinatown,

763
00:43:49.519 --> 00:44:09.039
creates his best. He put a lot of effort into

764
00:44:09.039 --> 00:44:11.800
this score. He even had to start over from scratch

765
00:44:11.840 --> 00:44:13.800
when the director didn't like the way he was approaching

766
00:44:13.800 --> 00:44:17.400
the music, and it just really showcases the best that

767
00:44:17.480 --> 00:44:22.599
Jerry Goldsmith could offer. There's no doubt that this is

768
00:44:22.599 --> 00:44:25.400
at the top of mini soundtrack leverage lists. It's been

769
00:44:25.400 --> 00:44:31.960
released so many times, it's still out there available. Yeah,

770
00:44:32.039 --> 00:44:34.360
if you wish to hear us go into more depth

771
00:44:35.599 --> 00:44:38.960
talking about this, listen to the Star Trek motion to podcast.

772
00:44:39.440 --> 00:44:43.000
It's just every cue for this score is from beginning

773
00:44:43.039 --> 00:44:46.039
to end as a masterpiece. You know, it was nominated

774
00:44:46.039 --> 00:44:50.119
for an Academy Award. Unfortunately it lost to George Delarue's

775
00:44:50.119 --> 00:44:53.079
Score to a Little Romance, which is a great score.

776
00:44:54.280 --> 00:44:56.760
But and I'm going to say this, Goldsmith should have

777
00:44:56.840 --> 00:44:57.400
won that year.

778
00:44:57.800 --> 00:45:01.079
I agree. I agree, it's because of Goldsmith. We had

779
00:45:01.119 --> 00:45:04.400
the cling on theme song. The music is because of Goldsmith.

780
00:45:04.559 --> 00:45:09.119
We have that, so Star Trek fans's let's thank Jerry

781
00:45:09.119 --> 00:45:12.480
Goldsmith for that because it is fantastic. Good pick, good pick.

782
00:45:12.559 --> 00:45:14.480
It's also the reason why we have the theme song

783
00:45:14.559 --> 00:45:16.360
to Star Trek the next Generation.

784
00:45:16.599 --> 00:45:19.760
Absolutely yep. So there's a lot that we have Jerry

785
00:45:19.760 --> 00:45:21.679
Goldsmith to think for when it comes to Star Trek.

786
00:45:21.719 --> 00:45:24.079
If they hadn't picked him, we probably wouldn't have what

787
00:45:24.119 --> 00:45:31.440
we have today, So very grateful for that. Well, before

788
00:45:31.480 --> 00:45:34.920
we continue on with our final pick, let's take one

789
00:45:35.000 --> 00:45:40.559
more break. All right, everybody, welcome back to a Film

790
00:45:40.559 --> 00:45:43.360
by a podcast where we are continuing our countdown or

791
00:45:43.360 --> 00:45:48.119
the top five Jerry Goldsmith scores. We got one left,

792
00:45:48.239 --> 00:45:51.039
but before we really dive into that, we're going to

793
00:45:51.079 --> 00:45:55.119
talk about one honorable mention that we could have that

794
00:45:55.360 --> 00:45:57.639
did not make our top five, but we still want

795
00:45:57.679 --> 00:46:01.719
to mention it, talk about it. So let's talk about

796
00:46:01.719 --> 00:46:05.159
that one honorable mention. Way, what is yours?

797
00:46:05.239 --> 00:46:08.320
Oh my choice is another film that he should have

798
00:46:08.320 --> 00:46:09.800
won me for the Academy Award, and I think the

799
00:46:09.800 --> 00:46:19.119
Academy agrees with us too, And that's Patten It's just

800
00:46:19.239 --> 00:46:23.840
that's another example of a masterpiece. It's a very minimalist score,

801
00:46:24.079 --> 00:46:26.960
very short, I think, for a film that lasts over

802
00:46:27.000 --> 00:46:29.519
three hours. He wrote barely more than a half hour

803
00:46:30.360 --> 00:46:33.440
of music for the film. But it's it's and a

804
00:46:33.519 --> 00:46:36.760
half hour of perfection. Plus his use of the the

805
00:46:36.800 --> 00:46:43.119
echoplex in the three trumpet notes that that echo whenever

806
00:46:43.159 --> 00:46:45.519
we see Patten and you know he thinks that he

807
00:46:45.840 --> 00:46:49.159
comes from an earlier times, he's you know what, he

808
00:46:49.239 --> 00:46:55.440
got reincarnation. It's just another example Goldsmith using instruments, different instruments,

809
00:46:55.440 --> 00:47:01.599
different electronic styles that perfectly match what is on screen.

810
00:47:02.000 --> 00:47:03.239
So this is my honorable mention.

811
00:47:04.320 --> 00:47:06.719
Good choice, Chuck, what is yours?

812
00:47:06.920 --> 00:47:10.280
I'm going to break out of the seventies on this one.

813
00:47:10.480 --> 00:47:14.320
In fact, I'm actually going to say something that's not

814
00:47:14.400 --> 00:47:17.920
a complete score. But I'm going to guarantee that everybody

815
00:47:17.920 --> 00:47:21.440
who's gone to the movie in the past twenty seven

816
00:47:21.559 --> 00:47:26.880
years or so have absolutely heard this. So I always

817
00:47:26.880 --> 00:47:28.480
have a story, So I gotta tell a story. So

818
00:47:28.519 --> 00:47:30.639
in nineteen ninety I went to go see Back to

819
00:47:30.679 --> 00:47:33.480
the Future three with my then roommate James Kirk. No,

820
00:47:34.079 --> 00:47:36.960
not that James Kirk and as the lights went down

821
00:47:37.119 --> 00:47:39.480
and the movie started, we were greeted by a brand

822
00:47:39.559 --> 00:47:44.039
new Universal logo and an incredible fanfare written by you

823
00:47:44.119 --> 00:47:47.719
guessed it, none other than James Horner. None of you

824
00:47:47.960 --> 00:47:49.440
thought I was gonna say, was it?

825
00:47:50.239 --> 00:47:50.519
Well?

826
00:47:50.880 --> 00:47:53.920
Seven years go by and I am now living in Virginia.

827
00:47:54.119 --> 00:47:56.400
Jay drives up to see me, and of course we

828
00:47:56.599 --> 00:47:59.760
got to go see this brand new Steven Spielberg film,

829
00:47:59.800 --> 00:48:03.079
The Lost World Jurassic Park, and once again it's the

830
00:48:03.199 --> 00:48:05.840
lights go down and the movie star. We're greeted by

831
00:48:05.880 --> 00:48:10.280
another brand new Universal logo and another incredible fanfare, this

832
00:48:10.360 --> 00:48:14.000
time written by Maestro Jerry Goldsmith, and it is still

833
00:48:14.119 --> 00:48:18.599
used today. And anytime you see a Universal picture, you

834
00:48:18.719 --> 00:48:44.400
are greeted with a fanfare that everyone knows.

835
00:48:45.400 --> 00:48:48.559
Universal is my favorite studio and that intro to the

836
00:48:49.079 --> 00:48:52.119
logo is fantastic, and I'm glad to know it's Jerry Goldsmith.

837
00:48:52.400 --> 00:48:54.280
It's so short, but it's so memorable.

838
00:48:54.360 --> 00:48:57.519
It is everybody can helmet.

839
00:48:58.400 --> 00:49:00.960
And I see why universally keeps using it, because why not?

840
00:49:01.280 --> 00:49:05.679
It's perfect? Yeah, Kavid Roland, I'm going to add one

841
00:49:05.800 --> 00:49:10.760
honorable mention here. So back in nineteen ninety five, I

842
00:49:10.840 --> 00:49:13.840
went to the theater and around this time was just

843
00:49:14.159 --> 00:49:20.480
my moving into listening to scores, loving scores, collecting scores.

844
00:49:20.599 --> 00:49:24.559
And there was a movie called First Night, directed by

845
00:49:24.840 --> 00:49:42.320
Jerry Zucker and I went to see this at the

846
00:49:42.320 --> 00:49:46.159
theater and movies okay, not one of the greatest movies

847
00:49:46.199 --> 00:49:50.119
out there, but it's still okay. But the music blew

848
00:49:50.480 --> 00:49:54.920
me away. I immediately had to own this score. Did

849
00:49:54.920 --> 00:49:57.199
not know who it was until obviously the end of

850
00:49:57.199 --> 00:50:01.159
the credits. It was Jerry Goldsmith. And this is the

851
00:50:01.199 --> 00:50:04.039
score that made me fall in love with Jerry Goldsmith.

852
00:50:04.039 --> 00:50:06.320
I didn't. I mean, I had listened to a lot

853
00:50:06.320 --> 00:50:09.000
of his stuff up to this point, obviously just wasn't

854
00:50:09.159 --> 00:50:12.920
educated enough. But this was my door, the door that

855
00:50:13.000 --> 00:50:16.159
opened into let me find out what else Jerry Goldsmith

856
00:50:16.239 --> 00:50:20.440
has done. And the floodgates were open, and the next

857
00:50:20.440 --> 00:50:22.800
thing I know, I realized what his career looked like

858
00:50:22.880 --> 00:50:24.880
and what he was still doing at that point. But

859
00:50:25.079 --> 00:50:28.000
First Night, I absolutely love guys. I know it probably

860
00:50:28.039 --> 00:50:29.800
doesn't make a top ten for a lot of people,

861
00:50:29.920 --> 00:50:34.760
but it is so such a good score, very very

862
00:50:35.320 --> 00:50:39.280
dramatic at times, very action packed at times, and it

863
00:50:39.400 --> 00:50:41.880
was played a lot in my vehicle.

864
00:50:42.360 --> 00:50:44.519
I remember, you're the one that hooked me on that film,

865
00:50:44.559 --> 00:50:46.920
just like I did with Logan's Run with you. I'd

866
00:50:47.000 --> 00:50:49.480
never seen the film or heard the score to that point.

867
00:50:49.559 --> 00:50:50.880
You said, Oh, you got to see this. It's a

868
00:50:50.880 --> 00:50:52.559
great score, and I yes, you're right.

869
00:50:52.920 --> 00:50:55.280
Yeah, Rachel, I think that's one that i've I was

870
00:50:55.360 --> 00:50:57.960
listening and I saw the film, and I'll be honest,

871
00:50:58.000 --> 00:51:01.320
I completely forgot about it. But this is one that

872
00:51:02.320 --> 00:51:07.719
the theme came up on a compilation album and I'm thinking, oh,

873
00:51:07.800 --> 00:51:11.480
this is nice. What is this one from? Oh First Night?

874
00:51:13.239 --> 00:51:16.199
Yeah, it's got a great theme to it. It does

875
00:51:16.480 --> 00:51:19.639
very catchy, and that's why I listened to it so much.

876
00:51:19.639 --> 00:51:20.920
I haven't listened to it in a while, but I'm

877
00:51:20.920 --> 00:51:22.519
telling you, after we wrap this, I think I'm gonna

878
00:51:22.519 --> 00:51:26.519
go listen to it again. Yeah. A choice, that's right. Well,

879
00:51:26.639 --> 00:51:30.320
we have made it to our final pick. We're down

880
00:51:30.400 --> 00:51:35.440
to the number one Jerry Goldsmith pick for you guys. Wayne,

881
00:51:35.800 --> 00:51:38.880
you get to go first. What is your number one pick?

882
00:51:39.679 --> 00:51:41.280
All right, I know I'm going to get a lot

883
00:51:41.280 --> 00:51:44.239
of blank stares and hus and watts from this choice,

884
00:51:44.239 --> 00:51:46.920
but hear me out on this one. My number one

885
00:51:46.960 --> 00:51:50.599
pick for my favorite score of Jerry Goldsmith is Twilight Zone,

886
00:51:50.639 --> 00:52:05.960
the movie. You know, I'm a huge fan of Twilight's

887
00:52:05.960 --> 00:52:07.960
in the movie as a film anyways, I bought it

888
00:52:08.000 --> 00:52:12.360
on VHS, DBD, Blu ray. I have both the original

889
00:52:12.400 --> 00:52:15.519
and the complete soundtracks. I own a copy an original

890
00:52:15.599 --> 00:52:18.039
copy of the movie poster, I have an express packet,

891
00:52:18.400 --> 00:52:21.719
and I've read the books about the film, including that

892
00:52:21.920 --> 00:52:25.400
Fantastic Outrageous Conduct which goes into detail about the events

893
00:52:25.400 --> 00:52:28.519
behind the scenes. But I'll admit the film is a

894
00:52:28.519 --> 00:52:32.559
bit of a mess. But the fact that Jerry Goldsmith

895
00:52:32.679 --> 00:52:35.840
took this mess and created a masterpiece is nothing short

896
00:52:35.880 --> 00:52:38.679
of a miracle. You know, and well, in fact, he

897
00:52:38.760 --> 00:52:41.599
created four masterpieces for this film, because he treated it

898
00:52:41.679 --> 00:52:44.639
like four episodes of a TV series and gave each

899
00:52:44.679 --> 00:52:48.760
segment its own completely different score with different sounds and

900
00:52:48.840 --> 00:52:52.280
styles that all come together for an incredible end titles

901
00:52:52.440 --> 00:52:56.639
at the finale. You know you got the four segments,

902
00:52:57.079 --> 00:52:59.199
you know. First, we start off with one called Timeout

903
00:52:59.239 --> 00:53:03.199
with Vic Morrow. He used a very minimalist approach, using

904
00:53:03.239 --> 00:53:07.039
only strings and percussions for this bit, very similar to

905
00:53:07.039 --> 00:53:08.719
what he did back in the sixties with the original

906
00:53:08.719 --> 00:53:11.760
Twilight Zone, and then we have Spielberg's section Kicked the

907
00:53:11.800 --> 00:53:16.440
Can with the scatman, Crowther's full orchestra, enhands with synthesizers,

908
00:53:16.800 --> 00:53:20.639
fun magical score with the memorable theme. And then It's

909
00:53:20.639 --> 00:53:23.480
a Good Life with Kathleen Quinlan that Joe Dante directed,

910
00:53:23.519 --> 00:53:26.480
so we got some crazy music with that. It's weird,

911
00:53:26.559 --> 00:53:31.639
sounds almost cartoon like in nature, just perfect Joe Dante music.

912
00:53:33.039 --> 00:53:35.360
Finally in the film, you have the Nightmare at twenty

913
00:53:35.360 --> 00:53:40.360
thousand Feet with John Lithgow, brilliant, memorable suspense music. It's

914
00:53:40.440 --> 00:53:44.800
almost psychological and navy. With this being a Spielberg film,

915
00:53:45.239 --> 00:53:46.639
you know, it's a bit of a surprise that John

916
00:53:46.679 --> 00:53:49.639
Williams didn't do the music for this one. But Spielberg

917
00:53:49.679 --> 00:53:52.480
had his reasons for going with Goldsmith. He was a

918
00:53:52.599 --> 00:53:56.920
huge fan of Goldsmith's score for Star Trek Motion Picture,

919
00:53:57.440 --> 00:53:59.760
and he enjoyed working with him on Poltergeist and wanted

920
00:53:59.800 --> 00:54:02.360
to work with him more. Plus the simple fact that

921
00:54:02.440 --> 00:54:04.760
you know, Goldsmith had scored episodes of the original Twilight

922
00:54:04.840 --> 00:54:08.039
Zone led to that decision. It was definitely the right

923
00:54:08.079 --> 00:54:11.559
one in my opinion. There's just so many great cues

924
00:54:11.599 --> 00:54:14.239
in us in. My favorite is the overture at the end.

925
00:54:15.719 --> 00:54:17.840
I chose to choose that because that way you get

926
00:54:17.840 --> 00:54:19.639
a little bit of music from all the segments. It's

927
00:54:19.679 --> 00:54:23.239
just amazing how he brought these separate bits and styles

928
00:54:23.239 --> 00:54:26.079
of music all together into one. It was a favorite

929
00:54:26.079 --> 00:54:29.639
of Goldsmith's too. He performed that piece at many live

930
00:54:29.840 --> 00:54:33.280
concerts that he did over the years, and it's still available.

931
00:54:33.480 --> 00:54:36.119
It came out back in nineteen eighty three on an LP,

932
00:54:37.039 --> 00:54:40.280
but they did release it complete. I was shocked when

933
00:54:40.280 --> 00:54:41.679
it came out. It was one of the last scores

934
00:54:41.679 --> 00:54:44.000
I thought I'd ever come out complete. Film score Monthy

935
00:54:44.039 --> 00:54:46.719
brought us to it, brought it to us. It's got

936
00:54:46.719 --> 00:54:50.239
everything in it, including the two sore songs that were

937
00:54:50.280 --> 00:54:52.480
especially written for the film. One of them was written

938
00:54:52.480 --> 00:54:54.639
by James Newton Howard and the other one was by

939
00:54:54.840 --> 00:54:58.760
Joseph Williams John Williams Son. But go out and get this.

940
00:54:59.079 --> 00:55:02.400
I back this every time. You know, this is by

941
00:55:02.480 --> 00:55:04.639
far my favorite Jerry Goldsmith's score.

942
00:55:05.199 --> 00:55:07.840
Now, I think it's a good choice, and you touch

943
00:55:07.920 --> 00:55:09.519
base on that right there. I mean, it's like four

944
00:55:09.559 --> 00:55:13.480
individual movies that he's having to, you know, make music

945
00:55:13.519 --> 00:55:15.280
for it. It needs to be different because it has to

946
00:55:15.320 --> 00:55:17.760
match the style of the director. It has to match

947
00:55:17.800 --> 00:55:21.239
the style the story. To be able to do that

948
00:55:21.440 --> 00:55:23.599
and be able to pull it all together into the

949
00:55:23.599 --> 00:55:27.880
big overture is quite an accomplishment for Jerry Goldsmith, and

950
00:55:27.920 --> 00:55:29.760
again just speaks volume and how good he is. I

951
00:55:29.760 --> 00:55:31.320
don't know, I think that is a really good pickwing.

952
00:55:31.360 --> 00:55:31.800
It really does.

953
00:55:32.159 --> 00:55:32.320
Yeah.

954
00:55:32.440 --> 00:55:35.639
The second, the second segment for Kick the Can is like,

955
00:55:35.760 --> 00:55:39.440
oh yeah, always been one of my favorite pieces, and

956
00:55:40.000 --> 00:55:42.719
I thought that, I know that some people might not

957
00:55:42.880 --> 00:55:46.800
like the segment. I like the segment and I love

958
00:55:46.920 --> 00:55:49.800
the music that went along with it, and it kind

959
00:55:49.840 --> 00:55:54.320
of expressed the wonder that Spielberg was going for in

960
00:55:54.360 --> 00:55:55.000
that segment.

961
00:55:55.360 --> 00:56:06.000
Yep, absolutely, Chuck, what is your number one?

962
00:56:06.679 --> 00:56:07.280
Okay?

963
00:56:07.480 --> 00:56:10.239
I know you said we had to pick only five

964
00:56:10.360 --> 00:56:14.559
Goldsmith scores to talk about and none of that. Scott Hoffman,

965
00:56:14.719 --> 00:56:17.280
I'm going to work in two for one. Well, I

966
00:56:17.480 --> 00:56:22.480
say nuts to that, because I found a loophole because

967
00:56:22.599 --> 00:56:27.840
I got two great scores but therefore the same movie. Okay, Okay,

968
00:56:28.400 --> 00:56:32.559
So I love this even more because somehow I just

969
00:56:32.920 --> 00:56:36.920
it totally escaped me until I started researching it and

970
00:56:36.960 --> 00:56:41.079
I'm talking about Ridley Scott's nineteen seventy nine Alien and

971
00:56:41.119 --> 00:56:44.199
it was a perfect killing organism and a near perfect

972
00:56:44.280 --> 00:56:49.159
film for a director's second outing. And to understand why

973
00:56:49.199 --> 00:56:51.960
I mean that there's two scores is that Jerry and

974
00:56:52.079 --> 00:56:55.639
Ridley had two different ideas for how this music should go.

975
00:56:56.440 --> 00:57:00.400
Jerry had an approach of like, okay, we're gonna he's

976
00:57:00.480 --> 00:57:04.440
out the suspense. We're gonna start with. You know, everything's

977
00:57:04.599 --> 00:57:07.920
good and fine. It's a little bit lonely because you know,

978
00:57:08.000 --> 00:57:11.639
we're we're truckers out in space, you know. And then

979
00:57:11.800 --> 00:57:15.079
as things start to go more and more south on LB.

980
00:57:15.239 --> 00:57:17.599
Four twenty six, and we start to realize that there

981
00:57:17.599 --> 00:57:21.480
are special inhabitants that are down there, the music starts

982
00:57:21.519 --> 00:57:25.800
to ratchet up in its tension, and Goldsmith completed and

983
00:57:25.880 --> 00:57:30.920
turned in the score and really just he wanted something

984
00:57:31.280 --> 00:57:34.800
scary right from the get go, and so you know,

985
00:57:35.119 --> 00:57:39.280
the director's right sometimes, and Goldsman went back to the

986
00:57:39.320 --> 00:57:42.000
piano and came back with the score that you hear

987
00:57:42.239 --> 00:57:45.159
in the film. But wait, there's more to this story.

988
00:57:46.039 --> 00:57:49.440
The movie opens, it's a great hit. Jerry and his

989
00:57:49.480 --> 00:57:52.039
wife go out to see it and they're enjoying the film.

990
00:57:52.280 --> 00:57:55.960
When something doesn't quite seem right. He's hearing his music,

991
00:57:56.199 --> 00:58:00.239
but it's from the wrong film. And it turns out

992
00:58:00.320 --> 00:58:02.800
that as Ridley was editing this, they were laying down

993
00:58:02.840 --> 00:58:05.880
some temp tracks because hey, they knew Jerry was scoring it.

994
00:58:06.599 --> 00:58:08.800
So they went and they got some music from a

995
00:58:08.800 --> 00:58:11.320
film called Freud and they put it in there, and

996
00:58:11.400 --> 00:58:14.119
it turned out they really liked it. They liked it

997
00:58:14.159 --> 00:58:17.440
in some scenes more than what Jerry had rewritten for them.

998
00:58:17.599 --> 00:58:20.400
And I think there were six places where his music

999
00:58:20.519 --> 00:58:24.599
got replaced. But okay, it is what it is, right,

1000
00:58:25.159 --> 00:58:27.679
But let's just stay for the closing credits because I

1001
00:58:27.760 --> 00:58:31.400
wrote a really good little hint that maybe there's another

1002
00:58:31.440 --> 00:58:34.079
alien or the alien still alive that's in there and

1003
00:58:34.119 --> 00:58:36.239
it's going to be really great. And so he's sitting

1004
00:58:36.239 --> 00:58:39.000
there waiting for it and he starts to hear Howard

1005
00:58:39.079 --> 00:58:46.039
Hansen's Symphony Number two playing. So I think that this

1006
00:58:46.079 --> 00:58:48.000
is stuff that I didn't know. I mean, I just

1007
00:58:48.639 --> 00:58:52.280
found this out not too long ago, because to me,

1008
00:58:53.360 --> 00:58:57.360
his score that he originally wrote, where it starts off

1009
00:58:57.400 --> 00:59:01.239
with yet another trumpet that's rim in this of Chinatown,

1010
00:59:01.719 --> 00:59:05.719
that's the one that for whatever reason, I thought that

1011
00:59:05.719 --> 00:59:07.480
that was the one that was in the music or

1012
00:59:07.519 --> 00:59:10.840
in the movie. And when when I found out that

1013
00:59:10.920 --> 00:59:13.440
I was completely wrong. I mean, I went back and

1014
00:59:13.480 --> 00:59:15.760
I stuck the Blu ray in and I've said I'm

1015
00:59:15.800 --> 00:59:19.239
going to show them it. Nope, I'm wrong. I have

1016
00:59:19.400 --> 00:59:24.159
been enjoying this other soundtrack, this special release that had

1017
00:59:24.159 --> 00:59:26.199
come out where they had had, you know, all of

1018
00:59:26.239 --> 00:59:30.360
the music on it, I guess, and I just somehow

1019
00:59:30.920 --> 00:59:32.719
I got pulled over and I had a little bit

1020
00:59:32.760 --> 00:59:37.920
of a quasi Mendela effect. But lucky for us, for

1021
00:59:38.000 --> 00:59:41.880
this one film, we get two great versions of the score,

1022
00:59:42.320 --> 00:59:45.239
and there are there's a version of the movie where

1023
00:59:45.280 --> 00:59:48.480
they have an auxiliary track where you can kind of

1024
00:59:48.519 --> 00:59:51.800
play his music as to where it goes. Sometimes it

1025
00:59:51.840 --> 00:59:54.559
doesn't all quite line up because they're just trying to

1026
00:59:54.559 --> 00:59:57.280
do something after the fact, and after the film was

1027
00:59:57.320 --> 00:59:59.800
locked and he had written that, they did edit it

1028
01:00:00.079 --> 01:00:02.599
them quite fit. But you do get kind of a

1029
01:00:02.639 --> 01:00:07.039
flavor of how it could be. Now, the question is

1030
01:00:07.800 --> 01:00:12.360
which one do you prefer? Do you prefer what he

1031
01:00:12.440 --> 01:00:16.039
wanted to write or what ended up in the film.

1032
01:00:16.519 --> 01:00:19.119
And you asked me on any given day and I'm

1033
01:00:19.119 --> 01:00:21.199
going to go back and forth, but what I do

1034
01:00:21.239 --> 01:00:23.800
want to say is that you know, you mentioned the

1035
01:00:23.840 --> 01:00:29.960
echoplex in patent. The echoplex gets okay, so the echoplex

1036
01:00:30.119 --> 01:00:33.639
is this device today. I'm sure we've just recorded electronically

1037
01:00:33.719 --> 01:00:37.840
and we could echo the sounds, but the echoplex was

1038
01:00:37.840 --> 01:00:40.280
the device which would allow them to record and to

1039
01:00:40.400 --> 01:00:48.719
echo instrumentation. And he used so many different sounds, and

1040
01:00:48.800 --> 01:00:52.719
I thought that the sound that was played when you

1041
01:00:52.760 --> 01:00:55.679
knew that, you know, the alieners around it was the

1042
01:00:55.719 --> 01:01:00.000
equivalent of John Williams two note theme. It was comprised

1043
01:01:01.000 --> 01:01:06.719
of several instruments, including an instrument from the Renaissance called

1044
01:01:06.800 --> 01:01:13.000
a serpent. It also included a didgeridoo. And this was

1045
01:01:13.079 --> 01:01:16.000
before Paul Hochan let us know that Australia exists, so

1046
01:01:16.360 --> 01:01:19.880
we really had never heard of didgerido before. And also

1047
01:01:20.159 --> 01:01:22.599
they fitted one of those conk shells that they would,

1048
01:01:22.639 --> 01:01:25.480
you know, they would play. They fitted it with a

1049
01:01:25.519 --> 01:01:30.360
mouthpiece of okay, and the guy just buzzing his lips

1050
01:01:30.400 --> 01:01:34.679
into it to create these sounds. And when that particular

1051
01:01:34.840 --> 01:01:38.559
cue is played, that's when the alien is really there.

1052
01:01:38.920 --> 01:01:41.400
You know, no cap as the kids would say today.

1053
01:01:41.960 --> 01:01:44.239
That's incredible. Yeah, that really is.

1054
01:01:44.320 --> 01:01:46.119
Such a great score, such a great scores.

1055
01:01:46.239 --> 01:01:48.840
It is all good picks. They really are, you know,

1056
01:01:49.039 --> 01:01:50.960
and both I agree with both number ones, I really do.

1057
01:01:52.000 --> 01:01:54.239
It's really hard with the career this guy has, with

1058
01:01:54.280 --> 01:01:56.079
all the music he has out there to pick. But

1059
01:01:56.119 --> 01:01:58.599
I think you both have done a wonderful job on

1060
01:01:58.639 --> 01:02:00.639
the top five Smith.

1061
01:02:01.320 --> 01:02:03.440
It's really hard to choose. There's so many of them,

1062
01:02:03.480 --> 01:02:06.800
but we had only five, and that's right.

1063
01:02:07.559 --> 01:02:07.719
Well.

1064
01:02:08.039 --> 01:02:11.599
I hope that it exposed some scores that people didn't

1065
01:02:11.639 --> 01:02:15.119
know or hadn't heard, and maybe we provided some resources

1066
01:02:15.159 --> 01:02:18.199
that they can go and just listen to some some

1067
01:02:18.280 --> 01:02:21.519
of his great works that might otherwise be hard to

1068
01:02:22.760 --> 01:02:24.760
obtain just due to costing.

1069
01:02:25.480 --> 01:02:28.920
Absolutely absolutely all right, what do you think of Jerry

1070
01:02:28.920 --> 01:02:32.280
Goldsmith's music? You did we mention all your favorites? Did

1071
01:02:32.280 --> 01:02:35.239
we omit any of your favorites? Let us know on

1072
01:02:35.280 --> 01:02:38.920
social media on Facebook, Instagram, and Twitter. Check out a

1073
01:02:38.920 --> 01:02:41.960
Film by Podcast dot com for film and TV articles

1074
01:02:42.039 --> 01:02:45.519
and our entire library streaming free. Write to us at

1075
01:02:45.559 --> 01:02:47.559
a Film by a Podcast at gmail dot com with

1076
01:02:47.599 --> 01:02:50.920
your questions, comments and concerns. We may just read your

1077
01:02:50.960 --> 01:02:53.079
response on the show and send you some a film

1078
01:02:53.079 --> 01:02:57.639
by Swag Wayne. As always, it is a pleasure to

1079
01:02:58.039 --> 01:03:01.679
hang out with you on this podcast. I can't wait

1080
01:03:01.719 --> 01:03:02.239
to do it again.

1081
01:03:03.039 --> 01:03:05.079
Love it, love it, love talking about music with you.

1082
01:03:05.679 --> 01:03:10.519
Absolutely for us. Phaser Set to Stun returns on February twelfth,

1083
01:03:10.519 --> 01:03:13.440
where we continue our discussions with the original Star Trek

1084
01:03:13.480 --> 01:03:16.199
Films and this time we will be discussing the Wrath

1085
01:03:16.719 --> 01:03:20.000
of Cohn and we'll be following up later in February

1086
01:03:20.000 --> 01:03:23.920
with the Search First Bock Chuck, what does the Cinematic

1087
01:03:23.960 --> 01:03:25.639
Flashback podcast have coming up?

1088
01:03:26.119 --> 01:03:30.440
Well, you know this Sunday is Super Bowl Sunday, so

1089
01:03:30.679 --> 01:03:34.119
we need to go and get a revisit a classic

1090
01:03:34.239 --> 01:03:38.199
film from the seventies that involved a rather large dirigible

1091
01:03:38.280 --> 01:03:44.280
that actually crashed into the Super Bowl ten and I'm

1092
01:03:44.280 --> 01:03:50.400
talking about Black Sunday by John Frankenheimer starring Robert Shaw. Yeah,

1093
01:03:50.440 --> 01:03:53.559
and what's really cool about this is this is after Jaws.

1094
01:03:53.639 --> 01:03:56.519
This was one of John Williams's.

1095
01:03:55.920 --> 01:03:59.440
Next works that he that he did and this is

1096
01:03:59.480 --> 01:04:02.119
definitely a case where he elevated that film.

1097
01:04:02.800 --> 01:04:05.119
Absolutely. It used to be on my top five most

1098
01:04:05.119 --> 01:04:08.519
wanted scores. I screamed for like ten years at the companies. Yeah,

1099
01:04:08.559 --> 01:04:10.039
release this release this.

1100
01:04:12.159 --> 01:04:15.280
A it's an interesting film. We're looking forward to talk

1101
01:04:15.320 --> 01:04:20.000
about that, and then afterwards we're our following release after

1102
01:04:20.039 --> 01:04:23.039
that is we're going to review a film that I

1103
01:04:23.079 --> 01:04:25.920
haven't seen yet. It's called The First Great Train Robbery,

1104
01:04:26.519 --> 01:04:30.119
which is a Michael Crichton story and it stars Sean

1105
01:04:30.199 --> 01:04:35.519
Connery and my new nineteen seventies heart throb, Donald Sutherland.

1106
01:04:35.519 --> 01:04:40.039
Oh my gosh, I had no idea until we started

1107
01:04:40.360 --> 01:04:44.400
talking about movies of the seventies. I only knew Donald

1108
01:04:44.440 --> 01:04:49.079
Sutherland honestly from you know, two films, Animal House and

1109
01:04:49.239 --> 01:04:51.559
from Invasion of the Body Snatchers.

1110
01:04:51.599 --> 01:04:56.440
Absolutely two good choices right there. Yeah, absolutely, Well, thanks

1111
01:04:56.519 --> 01:04:58.719
Chuck for joining us. I knew when we were going

1112
01:04:58.760 --> 01:05:00.599
to do this we had to have you and Wayne

1113
01:05:00.599 --> 01:05:04.400
because like I said before that you loved mister Goldsmiths

1114
01:05:04.440 --> 01:05:11.920
for good recently and jo all you're listening to the show,

1115
01:05:11.960 --> 01:05:14.679
following us on social media and subscribing to our Patreon.

1116
01:05:15.360 --> 01:05:29.840
We thank you, all right.

1117
01:05:29.880 --> 01:05:30.360
It's fun.

1118
01:05:30.639 --> 01:05:32.760
That was That was a lot of fun.

1119
01:05:32.360 --> 01:05:36.480
I'm sitting here writing down all these notes of scores

1120
01:05:36.519 --> 01:05:38.800
I need to go listen to. I got the Salamander down,

1121
01:05:38.800 --> 01:05:41.159
which is gonna be the next one I want to

1122
01:05:41.159 --> 01:05:44.320
go and listen to. So this is this is fun.

1123
01:05:44.360 --> 01:05:46.840
I appreciate it. I love the fact that you guys

1124
01:05:46.840 --> 01:05:49.800
have known each other for so long. This is that's

1125
01:05:49.880 --> 01:05:52.599
just that's just an amazing amount of relationship and uh

1126
01:05:53.079 --> 01:05:54.320
and definitely history.

1127
01:05:54.639 --> 01:05:56.639
Uh it's it's check out. If you don't know how

1128
01:05:56.639 --> 01:06:00.559
we met, it's because of Star Trek. Really, we were

1129
01:06:00.599 --> 01:06:04.119
both we're both Civil War reenactors, okay, and it was

1130
01:06:04.159 --> 01:06:05.519
back in what ninety five.

1131
01:06:05.800 --> 01:06:08.519
We're all it's hey, you know it's almost our thirtieth anniversary. Yes,

1132
01:06:08.559 --> 01:06:09.679
it was ninety five.

1133
01:06:10.119 --> 01:06:12.960
So we were a a reenactment in ninety five. And

1134
01:06:13.280 --> 01:06:15.400
he was in a tent over from where I was at.

1135
01:06:15.400 --> 01:06:16.639
So I was inside of a tent. He was a

1136
01:06:16.679 --> 01:06:19.159
tent next to us, and we were having a Star

1137
01:06:19.199 --> 01:06:22.719
Trek the Next Generation conversation and in the tent, and

1138
01:06:23.000 --> 01:06:25.519
Mahen was over in the other tent. He's just listening

1139
01:06:25.519 --> 01:06:26.079
to us.

1140
01:06:26.079 --> 01:06:28.119
It was a very boring conversation in my tent.

1141
01:06:29.320 --> 01:06:31.199
Then he asked him, he goes, do you think I'd

1142
01:06:31.199 --> 01:06:34.679
be okay if I went over and joined them? All

1143
01:06:34.760 --> 01:06:37.519
came over and as we say the rest is history.

1144
01:06:37.519 --> 01:06:38.800
Wayne and I became good friends.

1145
01:06:39.280 --> 01:06:41.199
Yeah. Wow, that's exactly how it started.

1146
01:06:41.280 --> 01:06:46.000
Yeah that's awesome. Hey, ladies and gentlemen.

1147
01:06:46.159 --> 01:06:51.360
Jeff Johnson, I think Chuck.

1148
01:06:51.159 --> 01:06:51.840
Needs to be started to.

1149
01:06:51.960 --> 01:06:57.840
Uh I know right, Damn that was good. Yeah yeah,

1150
01:06:58.199 --> 01:07:00.679
And you know I was I was going to mention

1151
01:07:01.280 --> 01:07:03.480
and I forgot to, and I sent it out this morning,

1152
01:07:03.559 --> 01:07:07.960
the disco version that came from the Alien soundtrack by

1153
01:07:08.000 --> 01:07:11.840
the by the guy Nostromo. Because I'm sitting there kind

1154
01:07:11.840 --> 01:07:15.199
of going like I need to start a playlist on

1155
01:07:15.320 --> 01:07:21.719
Spotify where I tag in just different uh music, you know,

1156
01:07:21.760 --> 01:07:24.719
like whether it was by Miko or was it Seawan

1157
01:07:24.880 --> 01:07:31.440
Cassidy for Star Trek, Nostromo for this, uh, the the.

1158
01:07:31.079 --> 01:07:36.599
Capricorn one, uh runs got one? Which one Logan's Runs

1159
01:07:36.639 --> 01:07:37.239
got one? Two?

1160
01:07:37.320 --> 01:07:41.039
Oh yeah yeah yeah it does. And and you know

1161
01:07:41.119 --> 01:07:44.079
just start oh Star Trek, Star Trek three. The search

1162
01:07:44.280 --> 01:07:46.199
verst spot has has one as well.

1163
01:07:47.199 --> 01:07:49.840
Oh I love those. I love the seventies music, I

1164
01:07:50.159 --> 01:07:51.199
really do. I love disco.

1165
01:07:52.119 --> 01:07:57.199
It transports me back to a much younger age when

1166
01:07:57.559 --> 01:08:03.360
my first awareness Star Wars was because of this disco

1167
01:08:03.559 --> 01:08:06.719
song that they would play on the radio, so yeah, yeah.

1168
01:08:07.039 --> 01:08:08.480
And then check out Jeff.

1169
01:08:09.320 --> 01:08:09.960
I'll look into that.

1170
01:08:10.800 --> 01:08:12.360
Dave. You knew how much I love disco.

1171
01:08:13.519 --> 01:08:17.680
Well, the Empire Strikes Back album is Ballard. It was

1172
01:08:17.760 --> 01:08:20.720
really good. We dug it back in the day. I

1173
01:08:20.720 --> 01:08:26.079
think I'll stick with Bill Murray's lounge, ACKed stove, nothing

1174
01:08:26.199 --> 01:08:26.840
but Stone