iamjorel

I love them both. Honestly, though, I think John Williams could have scored all of Goldsmith's films competently and, many times, probably better even in the same style if requested by the director. I can't say that about Goldsmith taking on Williams' assignments. Though, again, Goldsmith is tops.

Jerry Goldsmith's cue at the end of Dennis the Menace, when Mr. Wilson hears Dennis coming back home, almost made me tear up. Dennis the menace!!! Any composer who can do that has my respect. I first started with Supergirl and then discovered Air Force One, Rudy, Dennis ... then moved on to discover First Contact and Insurrection. 13th Warrior was next and the list grew from there. I just recently embraced Twilight Zone: the Movie. I usually gave up after a minute or so into the Overture but listened all the way through to Nightmare at 20,000 feet and I knew I had to have it all. It's simply ... great. I love his lyrical stuff. Any other suggestions? MySpace Film Music Group: http://groups.myspace.com/filmmusiccentral

MySpace Film Music Group Here are the movies I saw this year ... the summer ones are in there somewhere. 16 Blocks (B) Akeelah and the Bee (B) American Dreamz (D) Capote [b+] Da Vinci Code (B) Devil Wears Prada (B-) Failure to Launch (C-) Family Stone [b+] Find Me Guilty [b+] Final Destination 3 © Firewall Friends With Money (B) Hard Candy (B) Ice Age 2 [Cplus] Inside Man [bplus] Lucky Number Sleven [b+] Match Point (A) Mission Impossible 3 [b+] Over the Hedge (B-) Pirates of the Carribean 2 (B) Poseidon © The Producers (B-) Scary Movie 4 (D) Sentinel (C+) She's the Man (B+) Superman Returns (B+) Take the Lead Thank You For Smoking (B-) Transamerica (A-) V: For Vendetta (A-) X-Men 3 (B-)

Dreamworks Animation has their own logo and music. I believe it starts with balloons and has different colors for each letter.

yeah, as long as the main march was a competent recording I didn't mind ... I'm glad Ottman wrote his own score, very appropriate and Singer did a nice job with Ottman of placing just enough previous material into the film. MySpace Film Music Group MySpace Director Dan Harris Group

Well, based on the first listen, it looks promising--and it appears that a whole load of cues remain unreleased, and it's possible that the unreleased material contain more of Williams' themes (Ottman probably wanted the album to be mostly his stuff). Ottman does write some cool motiff for his cues, including an interesting Lex theme (reminds me of Elfman's Hulk) and a pleasant personal reflection theme for Superman (reminds me of the Harry Family Theme from the first Harry Potter). I'll have to listen to the score again. Lots of mellow, dreary music though ... The new introduction with the Krypton is missing; The end credits are missing; MySpace Film Music Group MySpace Director Dan Harris Group

Wow, top five of all time? I'll have to take a look. I know a few people picked it as one of the best scores of last year. In fact, I know I did. For myself, of the top 5 scores of 2005, John Williams composed four of them and the other was by James Newton Howard. This year is turning out to be quite exciting. Feel free to fill out the survey, if you like. MySpace Film Music Group

I thought the performance was fine ... compared to the other performances recorded over the years. I really want to know how the new Krypton cue sounds like now that they have thrown out the prologue. MySpace Film Music Group

Stanley and Iris

I do not believe the seconds in question is from Superman: The Movie. It must come from somewhere else other than Williams' Superman score.

I'll see about scanning the entire issue. As I said, it's all Goldsmith and they talk to his scoring mixers, arrangers, and even Sandy and JoAnne.

Didn't Goldsmith know Thomas since he was a fetus?

MORE GOLDSMITH INTERVIEW!! BRILLIANT. By the way, if you have a MySpace account, this is also being discussed over in a Film Music Group MORE GOLDSMITH REVEALED!! QUESTION: How has film scoring changed over the years? JERRY GOLDSMITH: It's amazing todayhow many dual composers there are. I never saw so many shared credits for composing before. How many people does it take to screw in a light bulb? On a couple of occasions, I've had someone to share the burden with me. It was quite apparent why: the scoring schedule was impossible. I'm not ever going to do it again--doing it twice was quite enough. I've had enough flack for that and was never happy with it. There are certain peole now where it's a factory--a couple of factories grinding out music, and I think it's despicable and ruining the art of film scoring. The music sounds the same. It's a formula that becomes repetitious and is not ade with a lot of skill. Here's a craft, an art that's been developed over years and years that's being demeaned for commerical purposes now. Fortunately, not all filmmakers go for it. I also think scheudles have changed--they are very short now. Orchestras and budgets are larger for music now. That's nice, but it can also be abused and taken advantage of. There are times we wante 85 or 90 musicians, but sometimes forty will do. Sometimes, composers' egos take over and it's a big track to stand up there in front of 90 musicians playing the music. Serving the film is our first consideration and the responsibility of all film composers. QUESTION: How elaborate are your electronic mock ups? JERRY GOLDSMITH: ... There's a danger with these mock ups. I think they're wonderful, but there are many orchestral things and musical devices you cna't do on a computer ... It can become very dangerous when you limit your creative ability to what you can accomplish personally on a computer. I'm concerned with staying away from this. I'll just write it out on paper likeI've been doing for 50 or more and be done with it. You have to balance this all out. That's why I find it's better to demonstrate the thematic ideas and the general overall approach with tehse mock ups, rather than try to demonstrate every single thing.

Film Score Monthly had a great article back in the late nineties on the state of action scores, covering scores like The Rock and Waterworld and analyzing them with the action scores of the past, especially Superman.

The issue was from February 1999. The 47 page issue was all Goldsmith. A tribute. Very nice.