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I wonder if Goldsmith was inconsistent with his opinions. Or whether Goldsmith was initially cold to Barry but then warmed up to him later.
Could be. Opinions may change over time. I remember Goldsmith said about himself in the 1960s that at heart, he viewed himself as a serial composer... but very few of his compositions after the 70s give any indication of that whatsoever.
Or Barry winning 3 Oscars from 1966-68...Bitter Goldsmith. Lol
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Miklos Rozsa described TO KILL A MOCKINGBIRD as "absolutely brilliant."
Miklos Loved Johnny T’s amazing piano playing!
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We bumped into Basil Poledouris and Richard Kraft outside the Royal Albert Hall on the way to the John Barry concert back in 19.. or 20..can't.remember and both of them were just as giddy and excited to hear two hours of JB music as we were.
After hearing FAREWELL TO THE KING and living the above story, I'd say BP was a huge fan.
John Barry was Basil's wife's favourite composer, apparently. Well, at least until she met Basil.
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Paul, there are so many great points in your post that I’m not even going to mention them individually. I’m just going to nominate it for a Jim Phelps Dicaprio toasting pic. A glass of wine with you, sir!
Thank-you! 
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Some answers from some of the composer interviews I have done at my currently defunct Rejected Film Scores website:
GERALD FRIED
What are some of your favorite scores, not composed by yourself?
Jerome Moross THE BIG COUNTRY, John Green RAINTREE COUNTY, all the PROKOFIEV scores, William Walton's HAMLET and HENRY THE FIFTH, Alex North VIVA ZAPATA, STREETCAR NAMED DESIRE, all of Elmer's scores
DAVID BELL
First would be "Silverado" composed by Bruce Broughton. The composing, orchestration and dramatic sense in a film score do not get any better than this. It is fantastic writing, one of the best scores in film history in my opinion! I also like Bruce's score for "The Rescuers Down Under". Brilliant writing aside, Bruce is also one of my favorite composers because of his involvement in the film and composer communities. He is always generous with his time and effort.
Next would be Thomas Newman. His writing is innovative, sensitive, dramatically spot-on and highly crafted. I think "Little Women" is one of the great, smart scores of our generation.
My mentor, John Addison, wrote some terrific scores that are often overlooked. His scores for "A Bridge Too Far" and "Tom Jones" are brilliant. In "Tom Jones" he used a small ensemble of quirky instrumental choices (some of which were not invented in the 18th century) and for him to have accomplished what he did with such a small ensemble requires high craft.
Carter Burwell, Mark Isham also great talents, I think. And then, of course, Jerry Goldsmith and John Williams.
GABRIEL YARED
I know yeah, I just got the information today. People like Jerry Goldsmith and John Williams and Ennio Morricone who are REAL composers; like Elmer Bernstein - they are REAL composers.
(another excerpt)
A person I love; I like very much the work of, is Alberto Iglesias. I like very much his work. Alberto Iglesias scores for Almod󶡲 films. I love seeing the process and approach of a guy like Elliot Goldenthal. He is a very good and original composer. I hope just for him that he won't get trapped in the habits dictated by the industry you know? It's not his habits, it's not his problem. It's the problem of the producer and directors asking him to duplicate himself which could be dangerous, yet so far he is really creative and inventive. I like also James Newton Howard and many others ... Don't forget John Williams, Morricone and Bernstein of course...
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Stephen, The interview you refer to was with John Caps. The response by RRB was similar. I interviewed RRB in the mid-seventies. When I mentioned Barry, RRB scoffed and said that Barry was not a "real composer." This was a phrase RRB favored. He also used it to describe most of his fellow nominees the year he was nominated for Murder on the Orient Express (North, Williams, Goldsmith), but he lamented that the oscar went to "the other one." That would have been Rota and Coppola for you know what for.
I was twenty years old and a Barry fan. I was a little bit shocked that RRB didn't share my enthusiasm. Oh well, a life lesson was learned.
RRB was quite generous with his time, very gracious, and didn't hold back. He hated working with Ken russell, by the way.
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Thomas Newman liked Risky Business
Edgar Froese liked Goldsmith's Legend
Jay Ferguson was a fan of Vangelis
Yves Laferriere liked Nino Rota, Ennio Morricone, Maurice Jarre, Georges Delerue, Mark Isham, Michael Nyman, Rachel Portman, Gabriel Yared, Eleni Karaindrou, Alberto Iglesias (especially for Pedro Almodovar's "Hable Con Ella") and Alexandre Desplat.
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As for Gabriel Yared - his score for The English Patient couldn't have been more tuned in to the narrative, so it would be interesting to hear his version of Troy.
Oh, yes, I'd definitely be interested in a release of Gabriel Yared's unused score.
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Barry was a new kind of threat to the British film music scene, and I can't imagine applauding his success was a very British thing to do.
I would concur. I wasn't around then, but I gather that composers like Bennett and even Goodwin were considered "proper blokes" -- approved products of the establishment, while Barry was dismissed as a "rock star", having emerged from pop music, being married to Jane Birkin and scooting around London in a Jaguar E Type.
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If you gotta drive, that's certainly the girl to drive ... with.
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The vitriol against Horner's honesty has continued to this day
Is that the honesty of not crediting other composers or the honesty of pilfering without remorse? Honestly, the cognitive dissonance is deafening when it comes to Jamie.
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