I am a fan of Alien Rez, not because of Joss Whedon's patchwork script, but because at least it had the familiar comedic elements of Jean-Pierre Jeunet and his usual returning ensemble cast (Ron Pearlamn, Dominique Pinon), as well as Sigorney Weaver being a badass mother.

Just my opinion. I love all of Jeunet's films; as wild and varied as the genres, his film style and character driven stories transcend the genre. City of Lost Child, Amelie, Delcatessen, Micmacs -- really excellent track record. Cool bit of science fiction in all of his films, even if just sort of a chaotic sense of fate and surrealism.

Ridley Scott is hit or miss -- but then again, Ridley Scott has far more a prolific film career so it's like arguing the planetary distances versus the intergalactic distances, we can't fully comprehend the multitude of influences involved in making a film and the secret to making it a good film, so what does it matter if it's 1 astronomical unit, 2 light years, or 26 billion light years, it's all beautiful art.

My kindness aside, his last 5 films: Robin Hood, Prometheus, The Counselor, Exodus, The Martian -- typical and BORING blockbustery movies. 1492 and everything after have been epic suck fests. Even Hannibal was a let down. They're all movies you're sort of excited about, if it weren't for the fact that he drags them out and adds little element of noticeable flair. Like Spielberg, hidden in realism. I want the stylistic elements of Alien and Blade Runner and Legend that PULLED YOU OUT of the movie experience to say loudly: This is art.

The soundtracks especially -- Ridley Scott replaced the original scoring of his movie Legend, which was a dazzling score by Tangerine Dream -- he replaced it with Jerry Goldsmith in rerelease... which sort of makes it all come full circle when you listen to the awful, typically EPIC score of Prometheus, minus all the atmosphere that the original soundtrack provided.

That's a great link! I agree 100% with the argument he provided about this film. While 20th Century Fox will say Colonial Marines is "canon" I'm not really a believer, after all if Resurrection is canon, I revoke their canon-giving ability. I guess I agree about the score, it actually has some good themes to it. While Horner's and Goldsmith's scores are good as well in their own ways, they are much more atmospheric.

Jerry Goldsmith FTW. >> ^IronDwarf:

>> ^ponceleon:
Holy crap! Was that piece of music composed just for this???

It says at the end the music is from "Alien", he just edited it to fit with the kitten.

>> ^BoneRemake:

What gives you more pleasure, Final Fantasy or Robot Chicken ? @kceaton1


If I could have both at the same time like this, it would be completely obvious.

Otherwise, it's Robot Chicken. Now if we could create a videogame-Robot Chicken-Spielberg/Lucas/Nolan/James Cameron/Ridley/Peter Jackson/Guillermo del Toro /Joss Whedon (to keep the others on the up & up) and then Hans Zimmer/Williams (I know)/Jerry Goldsmith/Trent Reznor/Cliff Martinez/ & Dennis McCarthy for sound. Lot's of the people involved would innately clean up mistakes (like Lucas at some point; for example).

It would be the best thing ever...

Did you want a short answer?

Tags for this video have been changed from 'Bill Reid, Haida, goldsmithing, wood carving, man of many talents' to 'Bill Reid, Haida, goldsmithing, wood carving, man of many talents, haida gwaii' - edited by therealblankman

^ But aside from all that, the thing I love about Dune more than any other is the incredible score! Make fun of the band Toto all you like (I'll even join you), but the Main Theme from Dune can take the Pepsi challenge with anything by John Williams or Jerry Goldsmith.

there is no debate? Tell that to Jerry Goldsmith.

The Omen
Alien
Planet of the Apes
Total Recall
Gremlins
Poltergeist
Capricorn One
Star Trek
Inner Space
The Waltons

1. Beatles - I Wanna Be Your Man
2. Robyn - Eclipse
3. Police - King of Pain
4. Stravinsky - Piano Concerto (mvt 3)
5. A-Ha - Living Daylights (James Bond Theme) (embarrassing)
6. The Statler Brothers - Flowers On The Wall
7. Vaughn Williams - Symphony 5 (mvt 4)
8. Jerry Goldsmith - Carol Ann's Theme from Poltergeist
9. Harry Connick jr. - Just A Boy
10. Malajube - Montreal -40C

In the fall of 2003, Jack L. Goldsmith was widely considered one of the brightest stars in the conservative legal firmament. A 40-year-old law professor at the University of Chicago, Goldsmith had established himself, with his friend and fellow law professor John Yoo, as a leading proponent of the view that international standards of human rights should not apply in cases before U.S. courts. In recognition of their prominence, Goldsmith and Yoo had been anointed the “New Sovereigntists” by the journal Foreign Affairs. [ ... ]

Immediately, the job put him at the center of critical debates within the Bush administration about its continuing response to 9/11 — debates about coercive interrogation, secret surveillance and the detention and trial of enemy combatants. [ ... ]

Nine months later, in June 2004, Goldsmith resigned. Although he refused to discuss his resignation at the time, he had led a small group of administration lawyers in a behind-the-scenes revolt against what he considered the constitutional excesses of the legal policies embraced by his White House superiors in the war on terror. During his first weeks on the job, Goldsmith had discovered that the Office of Legal Counsel had written two legal opinions — both drafted by Goldsmith’s friend Yoo, who served as a deputy in the office — about the authority of the executive branch to conduct coercive interrogations. Goldsmith considered these opinions, now known as the “torture memos,” to be tendentious, overly broad and legally flawed, and he fought to change them. He also found himself challenging the White House on a variety of other issues, ranging from surveillance to the trial of suspected terrorists. His efforts succeeded in bringing the Bush administration somewhat closer to what Goldsmith considered the rule of law — although at considerable cost to Goldsmith himself. By the end of his tenure, he was worn out. “I was disgusted with the whole process and fed up and exhausted,” he told me recently. [ ... ]

After leaving the Office of Legal Counsel, Goldsmith was uncertain about what, if anything, he should say publicly about his resignation. His silence came to be widely misinterpreted. After leaving the Justice Department, he accepted a tenured professorship at Harvard Law School, where he currently teaches. During his first weeks in Cambridge, in the fall of 2004, some of his colleagues denounced him for what they mistakenly assumed was his role in drafting the torture memos. One colleague, Elizabeth Bartholet, complained to a Boston Globe reporter that the faculty was remiss in not investigating any role Goldsmith might have played in “justifying torture.” “It was a nightmare,” Goldsmith told me. “I didn’t say anything to defend myself, except that I didn’t do the things I was accused of.”

...

Read the full article at NYT Magazine.