Ok, this is NOT an April Fool's joke.
I came across this at youtube.dom. Someone posted clips from Poltergeist III, which he claims contain "Jerry Goldsmith's rejected score".
http://www.youtube.com/results?search=j ... rch=Search
Now...I was US rep of the Jerry Golsmith Society when this film was made, and Jerry regularly coresponded with the society about his latest projects and even invited society members to some of his sessions.
He NEVER mentioned scoring Poltergeist III to us. And the rejections of other scores like Alien Nation, The Public Eye, 2 Days in the Valley and Gladiator were well publicized.
So of course the "Goldsmith score" on these clips is a fraud.
But what I can't get over is how much it sounds like Jerry Goldsmith. The instrumental blends, the melodic writing. I supposed it could be someone trying to ape his style (I suppose it HAS to be). But on the other hand who would go to the trouble?
So, what is this???
Paul
Goldsmith's "rejected score" for Poltergest III?
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Paul MacLean
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AndyDursin
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Fascinating! Of course you're right 100% Paul there is no rejected score...though it IS interesting to listen to!
I remember seeing the trailer for III -- with Goldsmith music from the original -- and it's amazing how improved the movie was...it still would have been far, far, far worse than II, but at least it would have been (possibly) watchable.
I remember seeing the trailer for III -- with Goldsmith music from the original -- and it's amazing how improved the movie was...it still would have been far, far, far worse than II, but at least it would have been (possibly) watchable.
well, cue 1 is from SLEEPING WITH THE ENEMY if Im not mistaken...
at the end of the hypnosis scene just take a look at the credits, silly!
still works great in the movie, which had more or less no score at all.. joe renzetti was a strange apparition in the 80ies... child's play also suffered highly from his weird "score"...
if it is not an april fool's joke, then just somebody had too much time on his hands...
but it's nice to do something like this. I put up Yared's score to TROY and was very fascinating to see how he approached scenes differently than Horner. Same with Newman's AIR FORCE ONE... the hijack with his score is a parody, really! so ridiculously overscored... no wonder he was fired!
at the end of the hypnosis scene just take a look at the credits, silly!
still works great in the movie, which had more or less no score at all.. joe renzetti was a strange apparition in the 80ies... child's play also suffered highly from his weird "score"...
if it is not an april fool's joke, then just somebody had too much time on his hands...
but it's nice to do something like this. I put up Yared's score to TROY and was very fascinating to see how he approached scenes differently than Horner. Same with Newman's AIR FORCE ONE... the hijack with his score is a parody, really! so ridiculously overscored... no wonder he was fired!
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AndyDursin
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Some rejected scores were rejected...for good reasons 
I agree with you Roman on AIR FORCE ONE. That was a terrible score by Randy Newman, who simply wasn't in his element (and why did he ever land that job in the first place?).
TROY is a very curious situation, because I love PORTIONS of Yared's score. There are other moments, though, where I can see why they threw it out -- it's too much, too heavy, too melodramatic, and even he utilized the same wailing female vocal that every genre score of the last 10 years has contained. Horner's music works better in some regards, not as well in others, but on balance I think his TROY is one of his better works...not as strong as THE NEW WORLD but a lot better than its rep would lead one to believe.
Back to POLTERGEIST III, I didn't mind Renzetti's piano motif over the end credits, but the rest of his music was lousy...I assume he got the job because they didn't want to pay Jerry (first and foremost), and because Renzetti had a working relationship with the director. Either way that movie is HORRID in every regard...I still laugh at people who confuse it with II, which despite its flaws is a FAR better movie than III (kind of like how fans think SUPERMAN IV is better than III -- some revisionist history going on THERE as well
I agree with you Roman on AIR FORCE ONE. That was a terrible score by Randy Newman, who simply wasn't in his element (and why did he ever land that job in the first place?).
TROY is a very curious situation, because I love PORTIONS of Yared's score. There are other moments, though, where I can see why they threw it out -- it's too much, too heavy, too melodramatic, and even he utilized the same wailing female vocal that every genre score of the last 10 years has contained. Horner's music works better in some regards, not as well in others, but on balance I think his TROY is one of his better works...not as strong as THE NEW WORLD but a lot better than its rep would lead one to believe.
Back to POLTERGEIST III, I didn't mind Renzetti's piano motif over the end credits, but the rest of his music was lousy...I assume he got the job because they didn't want to pay Jerry (first and foremost), and because Renzetti had a working relationship with the director. Either way that movie is HORRID in every regard...I still laugh at people who confuse it with II, which despite its flaws is a FAR better movie than III (kind of like how fans think SUPERMAN IV is better than III -- some revisionist history going on THERE as well
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Edmund Kattak
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Guys,
Originally, I really admired AIR FORCE ONE as summer escapist entertainment. Heck, I saw it three times in the summer of 97.
However, I think my insanity finally settled in. Suddenly, upon repeated viewings, I started to think that AIR FORCE ONE was almost made with parody-like scorn by Wolfgang Petersen - poking fun at the machismo of America and how we may be perceived by other nations as engaging in RAMBO-like diplomacy. I dunno, perhaps the script was really bad - with cardboard villains such as Gary Oldman.
If we go on the above premise, then it is possible that Randy Newman also sensed this as a bufoon-like parody movie and scored it accordingly. I don't know. But it is strangely starting to make sense to me now.
Originally, I really admired AIR FORCE ONE as summer escapist entertainment. Heck, I saw it three times in the summer of 97.
However, I think my insanity finally settled in. Suddenly, upon repeated viewings, I started to think that AIR FORCE ONE was almost made with parody-like scorn by Wolfgang Petersen - poking fun at the machismo of America and how we may be perceived by other nations as engaging in RAMBO-like diplomacy. I dunno, perhaps the script was really bad - with cardboard villains such as Gary Oldman.
If we go on the above premise, then it is possible that Randy Newman also sensed this as a bufoon-like parody movie and scored it accordingly. I don't know. But it is strangely starting to make sense to me now.
Indeed,
Ed
Ed
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AndyDursin
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I still watch AFO from time to time, the editing is just incredible, so is the sound design...
the hijack is one of the best action scenes of the last decades... thanks again mainly because of the fantastic editing. Richard Francis Bruce did that and got an oscar nomination for it... deservedly so!
and of course the music works fantastic, too, not to forget to mention Joel McNeely's kick-ass DOG FIGHT cue.
the hijack is one of the best action scenes of the last decades... thanks again mainly because of the fantastic editing. Richard Francis Bruce did that and got an oscar nomination for it... deservedly so!
and of course the music works fantastic, too, not to forget to mention Joel McNeely's kick-ass DOG FIGHT cue.