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Agreed. The premise is deeply flawed, as we all know that the beatnik doesn't hold a candle to Jerry.
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The premise is deeply flawed, as we all know that the beatnik doesn't hold a candle to Jerry.
Deeply flawed, yeah, because we should all know that there is only one Duel - and it's by Billy Goldenberg.
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Posted: |
Jan 17, 2020 - 10:43 PM
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By: |
Spinmeister
(Member)
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TRANSCRIPT
Interviewer: This is an honour for me.
John: No, it's a greater honour for me.
Interviewer: No, a greater honour for me.
John: No, it's a greater honour for me.
Interviewer: No, a greater honour for ME.
John: Well, perhaps you're right. Perhaps it IS a greater honour for me.
Interviewer: And you’re the composer of Mr. Baseball.
Jerry: No, you’re the composer of Mr. Baseball.
Interviewer: No, you’re the composer of Mr. Baseball.
Jerry: No, you’re the composer of Mr. Baseball.
John: No, it's a greater honour for me.
Interviewer: I see our composer guests have a sense of humour.
John: He’s a great kidder.
Jerry: No, you're a great kidder.
John: No, you’re the composer of Mr. Baseball.
With thanks to Woody Allen
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It is a logical comparison though, owing to the many (almost uncanny) similarities between them.
Goldsmith and Williams were of the same generation (only a few years apart in age), they both grew-up in LA (Goldsmith was born there, Williams' family moved there when he was around 12 or 13).
They both studied to be concert pianists. They both studied composition with the same teacher, Mario Castelnuovo-Tedesco. They were both protégés of Alfred Newman. They were both good friends with Alex North. They lived in the same neighborhood in Beverly Hills.
They worked with many of the same people -- Lionel Newman conducted a number of Goldsmith's sessions (Omen scores, Star Trek, Alien), and served as session producer for some of Williams' (Star Wars scores, Monsignor).
Herb Spencer (Williams' regular orchestrator) orchestrated Goldsmith's Bandolero. Arthur Morton (Goldsmith's regular orchestrator) helped orchestrate Superman. Alexander Courage also helped orchestrate of many scores of both composers.
They worked on similar projects -- and were slightly typecast as sci-fi / fantasy composers.
Williams is the Star Wars composer, Goldsmith was (more or less) the Star Trek composer.
Williams scored Superman (which Goldsmith was originally supposed to do). Goldsmith scored Supergirl.
Williams scored the Indiana Jones movies. Goldsmith scored King Solomon's Mines.
Williams scored Jurassic Park. Goldsmith scored Baby.
Irwin Allen had always worked with Williams but called on Goldsmith for The Swarm because Williams was unavailable.
When I was a kid, it was Goldsmith and Williams and then everyone else. They were the top dogs to most film music fans. Spielberg (in his liner notes for Poltergeist) said Williams and Goldsmith "have dominated the arena of great movie music for over 20 years". Frank Sinatra hired Williams to score None But The Brave, and handpicked Goldsmith for The Detective, Von Ryan's Express and Contract On Cherry Street. So it's clear a lot of people considered them the two best.
So naturally a debate will arise in regard to which one is "The Greatest".
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Posted: |
Jan 18, 2020 - 10:13 AM
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By: |
Tall Guy
(Member)
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It is a logical comparison though, owing to the many (almost uncanny) similarities between them.
Goldsmith and Williams were of the same generation (only a few years apart in age), they both grew-up in LA (Goldsmith was born there, Williams' family moved there when he was around 12 or 13).
They both studied to be concert pianists. They both studied composition with the same teacher, Mario Castelnuovo-Tedesco. They were both protégés of Alfred Newman. They were both good friends with Alex North. They lived in the same neighborhood in Beverly Hills.
They worked with many of the same people -- Lionel Newman conducted a number of Goldsmith's sessions (Omen scores, Star Trek, Alien), and served as session producer for some of Williams' (Star Wars scores, Monsignor).
Herb Spencer (Williams' regular orchestrator) orchestrated Goldsmith's Bandolero. Arthur Morton (Goldsmith's regular orchestrator) helped orchestrate Superman. Alexander Courage also helped orchestrate of many scores of both composers.
They worked on similar projects -- and were slightly typecast as sci-fi / fantasy composers.
Williams is the Star Wars composer, Goldsmith was (more or less) the Star Trek composer.
Williams scored Superman (which Goldsmith was originally supposed to do). Goldsmith scored Supergirl.
Williams scored the Indiana Jones movies. Goldsmith scored King Solomon's Mines.
Williams scored Jurassic Park. Goldsmith scored Baby.
Irwin Allen had always worked with Williams but called on Goldsmith for The Swarm because Williams was unavailable.
When I was a kid, it was Goldsmith and Williams and then everyone else. They were the top dogs to most film music fans. Spielberg (in his liner notes for Poltergeist) said Williams and Goldsmith "have dominated the arena of great movie music for over 20 years". Frank Sinatra hired Williams to score None But The Brave, and handpicked Goldsmith for The Detective, Von Ryan's Express and Contract On Cherry Street. So it's clear a lot of people considered them the two best.
So naturally a debate will arise in regard to which one is "The Greatest".
That’s a compelling comparison, Paul, but I think the conclusion only stands up if you limit the debate to Hollywood.
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That’s a compelling comparison, Paul, but I think the conclusion only stands up if you limit the debate to Hollywood.
I would agree with that. I guess I should have qualified "in Hollywood in the 70s and 80s". Plus, I was also trying to express the perspective I had in my youth.
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Please read before continuing:
THIS THREAD IS NOT ABOUT COMPARING WILLIAMS TO GOLDSMITH IN ORDER TO SAY WHO IS "BETTER" OR "WORSE"!!! It's solely about discussing WHY people feel the need to make such a duel and if it is at all possible. In other words, meta-comments about the PREMISES for this fantasy duel that people love to put up. So - although I realize it's difficult to control the flow of discussion - please do not add to the pointless and tiresome Goldsmith vs. Williams duel in this particular thread. Thanks.
Had I read this thread back in the day, I wonder if I knew then what I know now:
Getting men to talk about their internal motivations is like getting a German Shepherd puppy to pull his face out of the bag of dog chow that just broke open on the kitchen floor. Seriously.
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Had I read this thread back in the day, I wonder if I knew then what I know now:
Getting men to talk about their internal motivations is like getting a German Shepherd puppy to pull his face out of the bag of dog chow that just broke open on the kitchen floor. Seriously.
Ha! A meta-meta-comment! Top that, TJ! 
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I would appreciate a bump.
Are you challenging me to a duel?
Would you like one bump … or two?
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