Couldn't have said it better myself. Any chance to hear Austin share his knowledge about what he's passionate about. & the composition knowledge is stellar to a budding composer.
Something that I love about this episode is just how passionate and energetic you both are when talking about serialism. Oftentimes, it's presented with no emotion as a purely-logical and academic means of making music; when in my opinion, it's one of the most expressive methods there is! When you set out to write that initial tone row, that's YOUR scale! The very cornerstone of that piece is now uniquely yours, with zero derivation (save for, perhaps, the 'rules' of writing that scale) from anywhere else. Nobody else thought to put together that series of notes in that rhythm and that time signature! And what follows is like a long sequence of your musical-DNA written on paper! I hope this video encourages more people to listen to this kind of music, either from film or concert repertoire, and give it an honest chance. Thank you both for another awesome entry in this series!!
I can defend it for its historical context and also in right circumstances, its emotional impact. But I think its strongest advocates were routinely guilty of forgetting how alienating it is to the typical audience member
These are so often a way of helping me find new music, I get super excited whenever a score comes up that I'm already familiar with and get it before troy
And they're back! And with a really fascinating episode. Like Mr. Baker said, it's kinda difficult to think of what Morricone did for Fistful as groundbreaking when today is the gold standard of the sound of a Western. Same with The Cobwebb and Planet of the Apes.
Love this series. Keep it up, Austin. And yes, Planet of the Apes is my favorite Jerry Goldsmith score ( maybe on par with Alien). It's in the top 10 best scores ever written, hands down. It deserved an Oscar hands and feet down.
Finally got a chance to finish this episode. What a great listen, there’s a whole metric ton to unpack here. The starting point about Westerns and their drastic musical shift after the Dollars trilogy never ceases to blow my mind. Being honest, when I was a kid I always pictured cowboys playing the electric guitar since I loved watching Westerns so much. And as Troy said at the end, it’s crazy that these composers put absolutely everything on the line for these films, knowing how much was at stake, and yet it paid off. It really makes me think about how in an age where it feels like everything is possible, I wonder what the next big bold moves are going to be? I have absolutely no idea but I’m sure excited to find out.
Always a great day when a new episode pops out!! Man you had me with the thumbnail 😂 friggin love Goldsmith’s score to Planet of the Apes!! It’s incredibly haunting and unsettling. I can never decide if the Mummy or Planet of the Apes are my favorite so I just both lol. My favorite two cues are the searchers and the Hunt. The part of the Hunt where the apes are revealed there’s REALLY GNARLY and terrifying sound that mimics a gorilla…which to my ear sounds like maybe a washboard? But oh my gosh does that send chills down my spine haha. Leonard Roseman im honestly not too familiar but it’s amazing to me that his score to Cobweb was in 1954!! Because yeah I agree that kind of sound wasn’t a typical sound world!! One of these days I’d love for you to talk about the score to “Them!” Scored by Bronisław Kaper! It’s another score that uses some interesting stuff that’s unique for the decade. Also came out in 1954 and the first atomic monster movie in the world. He used multiple pianos and had them do these runs in a scattering motion to make it mimic the sounds of ants moving around. He was known for film noir and drama and “Them!” Would be his first and only contribution to the monster genre. He was also on loan from MGM to work with Warner Bros. which I find kind of funny in an interesting and curious way! Really cool score! Awesome video as always man!! Love hearing you guys talk and geek out!!
Man I love this series. I always have a bit of an “oh shit!” moment with each episode. Hearing Shire’s main title in this kind of blew my mind because I really only know his name from the movie Short Circuit. Never would have guessed that was the same guy.
That's Peter Tevis singing on that first track! The theme from A Fistful of Dollars that was played next was reworked from another collab between him and Morricone. Also the Taking of Pelham 123 title theme sounds almost exactly like a track from one of the Team Fortress 2 short films. Specifically from the beginning of Expiration Date. The Meet the Sniper video also pretty much jacks the the title theme of Magnum Force, which is fitting given the intended 60's/70's setting of TF2.
So happy to see a new episode of this pop up today! Thank you for continuing this when your busy schedule allows it. Any chance you (or Dallas) could make audio files available for download? Would love to listen on car rides as well.
What a brilliant little lecture in movie music history couched in the frame of two friends sharing in something they're interested in. How in the heck would I have ever otherwise learned about the effects of world wars on movie scores? I am so happy this podcast exists. ps. I keep rewriting this comment but it just always reads really sarcastically for some reason so ignore that tone, I'm trying to be truly genuine here.
Just a side note, I actually know couple of fellow composers who still use serial systems and dodecaphony, but extended to for instance dynamics, rhythm values, registers and whatnot.. very cool! (I love Planet if the Apes soundtrack dearly❤)
You obviously hit the major highlight where Goldsmith's use of serialism in film music is concerned but, much as I love the Planet of the Apes score, my preference in that department is his score for Freud. Perhaps not an entirely justified comparison though given how different they are in tone apart from their shared use of serialism to a degree. For full-blown serial/dodecaphonic technique in a Goldsmith composition, you have to go to Music for Orchestra. Makes sense that Goldsmith didn't really pursue the use of serialism in his work past the late 60s though since he later went on to refer to 12-tone technique as anachronistic.
I will say that Fistful wasn’t entirely unprecedented musically, since Leone asked Morricone to emulate the unconventional orchestration of Yojimbo’s soundtrack
I never knew Leone specifically pointed to Yojimbo; I'd argue it's the fact that it's unconventional more than anything particular about it though. They sound nothing alike!
@@awintory Yeah they really do. I do suspect the electric guitar at least was a pretty direct lift though, but Morricone was already interested in it at the time, so who knows.
On Planet of the Apes, Emil came in with the bowls and was on the session working on getting nice reverberant sounds from the bowls sitting upright. But then Jerry went over to him and said, “no, not like that.” and proceeded to turn all of the bowls over.
So glad this series continues, however infrequent! Feels like such a treat when I get the notification!!
Couldn't have said it better myself. Any chance to hear Austin share his knowledge about what he's passionate about. & the composition knowledge is stellar to a budding composer.
I actually love music that forces me to pay attention, that draws you in so much that it's not safe to drive to on the first listen.
Haha. I’ve pulled over to listen to stuff before.
Oh man! I felt like a kid on Christmas morning when I saw this pop up on my feed.
Every time I think of composers, I'm motivated.
Yes! Finally some Morricone. He's one of my favourite composers of all time (alongside yourself, of course)
Something that I love about this episode is just how passionate and energetic you both are when talking about serialism. Oftentimes, it's presented with no emotion as a purely-logical and academic means of making music; when in my opinion, it's one of the most expressive methods there is! When you set out to write that initial tone row, that's YOUR scale! The very cornerstone of that piece is now uniquely yours, with zero derivation (save for, perhaps, the 'rules' of writing that scale) from anywhere else. Nobody else thought to put together that series of notes in that rhythm and that time signature! And what follows is like a long sequence of your musical-DNA written on paper! I hope this video encourages more people to listen to this kind of music, either from film or concert repertoire, and give it an honest chance.
Thank you both for another awesome entry in this series!!
I can defend it for its historical context and also in right circumstances, its emotional impact. But I think its strongest advocates were routinely guilty of forgetting how alienating it is to the typical audience member
Thank you for the episode. I will save it for my Saturday walk.
Yaaaay you're back! Thank you both! And thank you Dallas for editing!
Another insane episode! Thanks!
Seeing a new episode of this always brightens my day. Looking forward to watching tonight!
So happy you guys are back!
I'm so excited to watch a new video from yall. I wish i could listen to it on spotify while I'm at work
These are so often a way of helping me find new music, I get super excited whenever a score comes up that I'm already familiar with and get it before troy
And they're back! And with a really fascinating episode. Like Mr. Baker said, it's kinda difficult to think of what Morricone did for Fistful as groundbreaking when today is the gold standard of the sound of a Western. Same with The Cobwebb and Planet of the Apes.
Love this series. Keep it up, Austin. And yes, Planet of the Apes is my favorite Jerry Goldsmith score ( maybe on par with Alien). It's in the top 10 best scores ever written, hands down. It deserved an Oscar hands and feet down.
Hey, good job guys. I adore the level of presentness with you guys above all else; Truly inspiring to me, as a humble fool
Awesome video! Definitely deserving a sequel (or more). Also looking forward to a Corigliano episode! Thank you! This is brilliant!
Finally got a chance to finish this episode. What a great listen, there’s a whole metric ton to unpack here.
The starting point about Westerns and their drastic musical shift after the Dollars trilogy never ceases to blow my mind. Being honest, when I was a kid I always pictured cowboys playing the electric guitar since I loved watching Westerns so much.
And as Troy said at the end, it’s crazy that these composers put absolutely everything on the line for these films, knowing how much was at stake, and yet it paid off.
It really makes me think about how in an age where it feels like everything is possible, I wonder what the next big bold moves are going to be? I have absolutely no idea but I’m sure excited to find out.
Always a great day when a new episode pops out!! Man you had me with the thumbnail 😂 friggin love Goldsmith’s score to Planet of the Apes!! It’s incredibly haunting and unsettling. I can never decide if the Mummy or Planet of the Apes are my favorite so I just both lol. My favorite two cues are the searchers and the Hunt. The part of the Hunt where the apes are revealed there’s REALLY GNARLY and terrifying sound that mimics a gorilla…which to my ear sounds like maybe a washboard? But oh my gosh does that send chills down my spine haha. Leonard Roseman im honestly not too familiar but it’s amazing to me that his score to Cobweb was in 1954!! Because yeah I agree that kind of sound wasn’t a typical sound world!!
One of these days I’d love for you to talk about the score to “Them!” Scored by Bronisław Kaper! It’s another score that uses some interesting stuff that’s unique for the decade. Also came out in 1954 and the first atomic monster movie in the world. He used multiple pianos and had them do these runs in a scattering motion to make it mimic the sounds of ants moving around. He was known for film noir and drama and “Them!” Would be his first and only contribution to the monster genre. He was also on loan from MGM to work with Warner Bros. which I find kind of funny in an interesting and curious way! Really cool score! Awesome video as always man!! Love hearing you guys talk and geek out!!
Man I love this series. I always have a bit of an “oh shit!” moment with each episode. Hearing Shire’s main title in this kind of blew my mind because I really only know his name from the movie Short Circuit. Never would have guessed that was the same guy.
That's Peter Tevis singing on that first track! The theme from A Fistful of Dollars that was played next was reworked from another collab between him and Morricone.
Also the Taking of Pelham 123 title theme sounds almost exactly like a track from one of the Team Fortress 2 short films. Specifically from the beginning of Expiration Date. The Meet the Sniper video also pretty much jacks the the title theme of Magnum Force, which is fitting given the intended 60's/70's setting of TF2.
Ennio Morricone has had my heart since I was a child. HUGE fan of his, thanks to m'dah and *his* Love of OG Westerns.....thank you, Austin.
Morricone was truly one of the greatest ever
So happy to see a new episode of this pop up today! Thank you for continuing this when your busy schedule allows it. Any chance you (or Dallas) could make audio files available for download? Would love to listen on car rides as well.
Been thinking about that. Stay tuned
I always learn soooooo much from you guys. Makes my brain hurt sometimes 😅
What a brilliant little lecture in movie music history couched in the frame of two friends sharing in something they're interested in. How in the heck would I have ever otherwise learned about the effects of world wars on movie scores? I am so happy this podcast exists.
ps. I keep rewriting this comment but it just always reads really sarcastically for some reason so ignore that tone, I'm trying to be truly genuine here.
Go read Mauceri's THE WAR ON MUSIC, recently published!!! Trust me you won't be disappointed
Nothing profound to say here from me. But good stuff boys! Always a pleasure to listen in.
Just a side note, I actually know couple of fellow composers who still use serial systems and dodecaphony, but extended to for instance dynamics, rhythm values, registers and whatnot.. very cool! (I love Planet if the Apes soundtrack dearly❤)
Musical communism = quote of the year. Brilliant episode. Also loved seeing Troy again, and in a DS2 shirt no less! :D
I've never seen The Taking of Pelham 123 before, DAMN that Main Title is awesome!
You obviously hit the major highlight where Goldsmith's use of serialism in film music is concerned but, much as I love the Planet of the Apes score, my preference in that department is his score for Freud. Perhaps not an entirely justified comparison though given how different they are in tone apart from their shared use of serialism to a degree. For full-blown serial/dodecaphonic technique in a Goldsmith composition, you have to go to Music for Orchestra. Makes sense that Goldsmith didn't really pursue the use of serialism in his work past the late 60s though since he later went on to refer to 12-tone technique as anachronistic.
I'm currently replaying AC: Syndicate. The score slaps.
Also gonna binge some David Shire.
Is that a 12 tone row I hear in the bumper intro/outro music? Great episode!
I will say that Fistful wasn’t entirely unprecedented musically, since Leone asked Morricone to emulate the unconventional orchestration of Yojimbo’s soundtrack
I never knew Leone specifically pointed to Yojimbo; I'd argue it's the fact that it's unconventional more than anything particular about it though. They sound nothing alike!
@@awintory Yeah they really do. I do suspect the electric guitar at least was a pretty direct lift though, but Morricone was already interested in it at the time, so who knows.
On Planet of the Apes, Emil came in with the bowls and was on the session working on getting nice reverberant sounds from the bowls sitting upright. But then Jerry went over to him and said, “no, not like that.” and proceeded to turn all of the bowls over.
I never heard that! Amazing! Man, I wish I'd had opportunity to work with Emil. Thanks Bob!!! Always an honor to see you appear here :)
Main Title to The Taking of Pelham 123 is one of my favorites! I hated the remake solely because it didn't have Shire's score lol.
Austin says apropos - drink.
Speaking of Jerry's score for Planet Of The Apes. Anyone seen the Todd Field / Cate Blanchett movie Tar?
Not yet but I know sarcastically besmirches Goldsmith!
I love how Austin, unlike Troy, is able to enjoy some really nasty jazz while keeping a perfectly straight face
hahahaha
I need a college class from Austin
Man.. calling Ben Burtt a legend is an understatement.
"Find out what makes that sound, and then give it to Goldsmith."
Paraphrased. Don't know who said it.
Arthur Morton, his orchestrator
@@awintory Oh great!
So, technically, Austin didn't get the last word-- or did he? ;)
Small nitpick: Schubert was Austrian 😊
Damn my off-the-cuffness!
@@awintory Your off-the-cuffness is usually so precise and correct. The wise-ass in me had to indulge in this tiny, little error
Oh, Austin can get Troy but Alanah can't 😮
😅
Awful news, Ben Burtt does not have a daughter ;_;
I found a couple articles that indicate he does have a daughter. According to Google he only has a son which seems to be incorrect.
It would be the silliest and most pointless grift everywhere