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This strikes me as one of the most pointless threads I can recall seeing here for some time.
If the OP is seriously raising a question, then, given there's no way to objectively answer it, it's a waste of time.
If, on the other hand, the OP is simply presenting, in the guise of a question, an attack on Goldsmith's fans, then it's trolling, and is similarly a waste of time.
Of course, there's the remote chance that it's a leg-pull. But there's far, far fewer of those on this forum than troll-posts, so my hope's aren't high.
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Looks like you're about to have a "Roadside Incident," Zwar.
Nice.
I think you are both in "Hot Water."
Stop "Pretending." This is about Love Field exclusively, The Posters......
I should know better than to try to jump into this kind of thing. I forget we're not alone here.
I won't put up with this kind of character Assassination.
Let's all get together again and fight it out, ok?
We can meet behind the Motel!
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one of the clearest signs of when this particular behaviour has gone overboard is when fans claim their evaluations to be truths.
Yep.
I have no problem with people being defensive about the things they like or love. I am myself. And perhaps a little insecure. But there's another level, where opinions are set out in a way that discourages dissent. At that point, I tend to want to dissent.
Ha, ha....same here!
Here too! As I said, let's fight it out then.
Seriously, I think Jerry Goldsmith was one of the greatest film music composers who ever lived and he's certainly a favorite of mine. (I purposely say "one of the", as I don't feel the need to pull a highlander and say "there can be only one". I'd say the exact same thing about Ennio Morricone, Bernard Herrmann, Alex North, or Miklos Rozsa, among a few others.) Yet I'm certainly open to discussion about this. Obviously, there will be those who dislike the music of Goldsmith (or Morricone, or Herrmann, or North, or Rozsa)... so what?
99% of the world's population probably don't even know who all these people are in the first place. :-)
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Looks like you're about to have a "Roadside Incident," Zwar.
Nice.
I think you are both in "Hot Water."
Stop "Pretending." This is about Love Field exclusively, The Posters......
I should know better than to try to jump into this kind of thing. I forget we're not alone here.
I won't put up with this kind of character Assassination.
Let's all get together again and fight it out, ok?
We can meet behind the Motel!
Bates Motel it will be. Good backdrop for the family album photo.
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Man, it really sucks that there's no Main Title on that album.
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I went to see a psychiatrist once and he said the way I randomly inserted film soundtrack cue titles within my conversation was a major sign of insecurity.
That clinches it then. We've come full circle.
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I went to see a psychiatrist once and he said the way I randomly inserted film soundtrack cue titles within my conversation was a major sign of insecurity.
That's what they tell everyone.
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Okay, I'm really late to this party, mostly because I didn't even want to read this thread when I saw the title.
But I think there's another point here that no one has yet made: the tendency to confuse "favorite" with "greatest."
These are my top favorite film composers, in order:
1 - Goldsmith
2 - Rozsa
3 - Williams
4 - Herrmann
5 - Broughton
Okay, so who's the greatest in this list? And what about so many others, from Steiner and A. Newman to Morricone and Barry to Elfman and Zimmer - to a huge list of others, so no offense if I've left off your favorite.
Both in terms of the music they make and their effectiveness in scoring films, these folks are all masters, personal preferences aside. So there's no way I would say which of these are the greatest.
(At most, I'd point out that Goldsmith had a bigger toolbox than many composers, which is why he was very good at scoring a great array of films - he had more tricks up his sleeve to call upon than someone like Herrmann or John Barry - but it makes no difference in terms of the quality of the work and effectiveness of the films of each of these composers.)
There is no useful objective standard to determine who is the best, the greatest, the most eclectic, etc. But it is perfectly fine to have favorites.
But turning your favorite into "the greatest" is more a way to justify your taste than to set a rationale for the judgement.
Thus endeth the debate - glad I could clear that up!
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And for Yavar, I used to feel as you did about Mozart, especially in my young years when I had to play the viola parts in some of his works. But I've got to say that sometimes I get just as lost (or is it found) in Mozart as I do in Goldsmith. They're both masters, and again, I'm not going to worry about who's better, I'm just going to love them both.
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And for Yavar, I used to feel as you did about Mozart, especially in my young years when I had to play the viola parts in some of his works. But I've got to say that sometimes I get just as lost (or is it found) in Mozart as I do in Goldsmith. They're both masters, and again, I'm not going to worry about who's better, I'm just going to love them both.
Wow, there now... Mozart... I mean, come on... we're talkling about one of the great composers of all time.
I have to admit though: when I was a young kid, I didn't "get" much of his music, it seemed too nice, too fluffy, too baroque, too "classical" for my ears. Back then, I preferred composers such as Stravinsky or Bartok, composers who in my esteem "kicked ass". I always liked some Mozart pieces, but I had to mature to appreciate him as the astonishingly great composer that he was. (Haydn was a similar story... interestingly, Beethoven I liked right away out of the box. :-) )
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The Mozart opera exception for me is Don Giovanni. Maybe a bit overlong, but a lot of fun, and some really powerful musical moments.
But his supposed great masterpiece The Magic Flute?
Yawn. Give me ANY opera written by Bizet, Tchaikovsky, Dvorak, Massenet, Gounod, Verdi, Donizetti (well you get the idea) instead.
Yavar
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Personally i think its the Hans Zimmer haters on this site that are the most insecure.
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The fact that a topic like this even exists is a sign that there is not much to talk about real film music around here nowadays...
Yeah... I guess (real) film music might be dead already.
I love Goldsmith's music. Really do. But he's dead.
I hate Zimmer's music. I really do. And he's in the peak of his career!
Do I offend anyone because of it? Do I get offended by anyone because of it?
Are we gonna start discussions about the profile of Bill Conti fans? How about Desplat fans?
C'mooooonnn!
Is this the FILM SCORE MONTHLY forum or the "YOU-ARE-THIS-OR-THAT" forum?
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