Tag Archives: Ridley Scott

Rocks In The Attic #697: Jerry Goldsmith – ‘Alien (O.S.T.)’ (1979)

RITA#697Is there a more immersive experience than a video game? Over the last couple of weekends I’ve been playing Alien: Isolation on the PS4, and generally shitting myself with fear as a result.

Set fifteen years after the events in the 1979 film – itself based in 2122 – Alien: Isolation follows Ellen Ripley’s daughter as she visits a spaceship to find out what happened to her mother. The game is designed to look like the 1979 film, with the events unfolding on the same class of mining ship as the Nostromo.

I started off playing the game in the middle of the night, wearing my gaming headphones, but this proved too scary – wandering around a dark spaceship full of blinking lights and music akin to Jerry Goldmsith’s original score. Subsequent plays have been made without headphones, and with my trusty Great Dane, Abbey, by my side.

If there’s one thing I love the most about the 1979 film, it’s the production design by concept artists Ron Cobb and Chris Foss. The spaceship looks so grungy and atmospheric, and so far removed from the clean aesthetic of the Star Trek universe. H.R. Giger’s design of the alien itself is one thing, but the ship almost feels like another living and breathing character.

Duncan Jones’ Moon got close to a similar look, and other sci-fi films have tread a similar path since, but Alien feels like the first mainstream film to do this. Comparisons can be drawn with the production design of John Carpenter’s 1974 Dark Star – itself starring future Alien creator/writer Dan O’Bannon.

RITA#697aJerry Goldsmith’s score, presented here on acid-blood green vinyl, courtesy of Mondo Records, is a wonderfully creepy soundtrack. Although the score ends up sounding more like a traditional horror soundtrack towards the end – tense strings and booming brass, complimented by high-register plucked violins – it starts off a different beast altogether. Main Title, Hyper Sleep and the rest of the music throughout the first act just sounds otherworldly. Not particularly scary, just lonely and isolated; grim and despondent.

I have a very clear memory of being faced with my first images from the Alien film. I couldn’t have been older than a toddler, and I remember bring walked into a living room to say goodnight to people, and the film was playing on the television. For whatever reason, the film wasn’t turned off, probably because it looked like quite a benign, harmless scene – and I was probably only in the room for less than a minute. But I distinctly remember looking at the screen as the face-hugger emerged from the egg and launched itself at John Hurt’s face. Obviously at that age – three or four – I didn’t know what it was. For some reason I thought it was rope – perhaps the uncoiling of the face-hugger looked like a length of rope – and I presume the film was swiftly turned off and I was rushed to bed.

Hit: Main Title

Hidden Gem: Hyper Sleep

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Rocks In The Attic #608: Various Artists – ‘True Romance (O.S.T.)’ (1993)

RITA#608.jpgIn the early 1990s, director Tony Scott was handed a piece of gold dust. Quentin Tarantino, a cocky, young up-start had been circling Hollywood for a few years trying to develop his first script, True Romance. Tarantino decided to sell the script, and Warner Brothers snapped it up greedily. In hindsight it would have been too large a project for a first-time director anyway.

Instead Tarantino turned his attention to his next script, a simpler heist story called Reservoir Dogs. This would have been an easier film to pitch with him as director – the heist is never seen, only referred to, and much of the film takes place in one location.

By the time he was handed Tarantino’s script, Tony Scott was already a blockbuster director, arguably more commercially successful than his older brother Ridley. While Ridley had scored critical successes with Alien and Blade Runner, Scott had directed Top Gun, Beverly Hills Cop II and Days Of Thunder. His collaborations with super-producers Don Simpson and Jerry Bruckheimer say more about his directing style than anything else.

True Romance then, becomes the lost Tarantino picture. His trademark dialogue is evident throughout the film – all pop-culture references and cooler than cool soundbites – but Scott’s input muddies the water somewhat. The cinematographers that Scott worked with throughout his ‘80s and ‘90s films had a very peculiar style. Lots of obtrusive close-ups, too many filtered interiors, and a very synthetic, staged camera set-up. By the time you get to something like 1996’s The Fan, the cinematography is so overbearing that the film is practically unwatchable.

Looking back, True Romance has one of the greatest ensemble casts of all time, featuring several actors who would go onto bigger things. Joining leads Christian Slater and Patricia Arquette were Michael Rapaport, Bronson Pinchot, Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, Brad Pitt, Chris Penn, Tom Sizemore, Samuel L. Jackson and a pre-Sopranos James Gandolfini.

RITA#608aThe soundtrack also differs from most Tarantino films in that it has both a pop soundtrack and an original score, by Hans Zimmer (the only soundtrack of Tarantino’s to mix pop songs with an original score is The Hateful Eight). Zimmer’s score is delightful – practically a proto-Thomas Newman score before he rewrote the rulebook on esoteric, oddball soundtracks with 1996’s American Beauty.

Some of the pop songs wouldn’t be out of place on a Tarantino soundtrack. Charlie Sexton’s Graceland, Robert Palmer’s (Love Is) The Tender Trap and Chris Isaak’s Two Hearts feel like they belong in QT’s record collection, but mediocre tracks like Charles & Eddie’s Wounded Bird and John Waite’s In Dreams reminds you that this really is just a typical run of the mill blockbuster soundtrack, and wasn’t curated in any way by Tarantino. Even Soundgarden’s Outshined sounds a little too obvious. The absence of Aerosmith’s The Other Side – presumably due to rights reasons – is personally disappointing, but it would have just dated the soundtrack even more.

Hit: Outshined – Soundgarden

Hidden Gem: Graceland – Charlie Sexton