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GoldsmithFanatic2000+

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About GoldsmithFanatic2000+

  • Birthday 02/05/1977

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    London, England

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  1. Indeed we must my master. That is the path to the darkside.
  2. It's wonderful that you do not care. I have an area on my mantle I'd love to place you on. No, second thoughts I'll give you to my dog. No wait, the junkyard would be the perfect place actually. My dog doesn't need crap in his teeth after all.
  3. Superman needs to be rebooted, John Williams' theme/s with it. Superman Returns was poor, and so was Ottman's score. It just stank of pointlessness. Here you can watch a film trying to be Superman 78' right down to Brandon Routh trying so desperately hard to be Christopher Reeve, it's no secret that he happens to resemble him. That's where it stops however. Routh is as wooden as an oak tree in Returns. Why watch poor imitation, when you can watch the glorious real thing? He just reminded me of Christopher Lloyd in Back to the Future Part II. In the opening of the film his performance is poor, where as he is fine for the rest of its duration, as he was in the first film (thankfully, more than can be said for Routh). Why? Because he is lousy at impersonating himself. His performance at the end of the original was natural. The opening of the sequel, which is a recap of the original, only it all had to be re-shot to incorporate Elisabeth Shue into the picture, just screams forced and second rate. Shue wasn't much better either, Claudia Wells portrayed Jennifer quite differently. Even if she wasn't on screen all that much, she was the superior actress in the role. Only Michael J. Fox manages to recreate his performance with ease, almost the same as it was in the original version of the sequence. Anyway, as long as Zimmer, and anyone else associated with Remote Control stay well away from scoring this upcoming Superman film, I'll at least have something less to worry about.
  4. I've heard Yard's score. I think it comes across as being quite cheesy at times, especially when taking the film it was written for into consideration. I feel the exact same way about Newman's rejected Air Force One score.
  5. Only through bad interpretation by overzealous film music fans. I can't remember any specific Goldsmith comment comparable to Rosenman, not in the slightest. That's because Goldsmith never let himself indulge with his ego long enough to feel comfortable about making such ridiculous statements. Even Horner hasn't ever sunk that low, and he has bragged a fair bit in his career.
  6. This coming from the guy that wrote Star Trek IV? I always thought the man's head was so far up his own behind it was almost tragic, and now he insults a classic score like RoboCop by a splendid composer like Poledouris when his effort was just as bad as Star Trek IV, If not worse. I honestly have no care left towards Rosenman anymore. RoboCop RoboCop 2
  7. Ditto. Ditto indeed. I find the very issue of the vs. scenerio here especially ludicrous. Zimmer loses instantly, no two which ways about it.
  8. I insist, Jerry Goldsmith is having a secret love affair with Hans Zimmer. He never really died, he just faked his death so he could hide away on a tropical island waiting for his Zimmer love to return and bewilder him with steamy passion.
  9. The fact that Goldsmith used a full orchestra here tends to make this CD sound artificial to me When I listen to the "Hijacking" track, for instance, I can't help but wonder what we would have heard if someone like Hans Zimmer At least that way you wouldn't have the string section trying so hard to sound like pulsating synthesizers under the gunfire. This guy is a bumbling buffoon.
  10. Poltergeist II with its implemented synth experimentation and uniquely different approach and sound to the original is amongst the many reasons why I consider Goldsmith the greatest composer of all time. I greatly admire, and appreciate both scores. The first being the superior, more epic of the two. I would say it's Goldsmith's finest sequel score behind The Final Conflict.
  11. (CNN) -- Soul singer and arranger Isaac Hayes, who won Grammy awards and an Oscar for the theme from the 1971 action film "Shaft," has died, sheriff's officials in Memphis, Tennessee, reported Sunday. Relatives found Hayes, 65, unconscious in his home next to a still-running treadmill, said Steve Schular, a spokesman for the Shelby County Sheriff's Department. Paramedics attempted to revive him and took him to a hospital, where he was pronounced dead shortly after 2 p.m., the sheriff's department said. No foul play is suspected, the agency said in a written statement. Hayes was a longtime songwriter and arranger for Stax Records in Memphis, playing in the studio's backup band and crafting tunes for artists such as Otis Redding and Sam and Dave in the 1960s. He released his first solo album in 1967. In 1971, the theme from "Shaft" became a pop hit and won an Academy Award for best original theme song. The song and the movie score also won Grammy awards for best original score and movie theme. He was inducted into the Rock and Roll Hall of Fame in 2002. http://www.cnn.com/2008/SHOWBIZ/Music/08/10/hayes.obit/
  12. Mine arrived this morning too. I haven't stopped playing it! It's a quality release all round. MASTERS of the UNIVERSE
  13. It depends. There are a handful of cues which consist primarily of the LSO being at the forefront. Others which are half and half, and some which are almost entirely synth. I know the few synth dominated cues that do appear on the album and consist almost entirely of a sampled orchestra were actually unused. After his score had been recorded, editing changes took place on the film, meaning that Edelman's music no longer worked for these scenes and his being unavailable due to an operation he had recently undertook meant bringing in John Debney to rescore 30 minutes of his music for the final film.
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