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A marvellous and very important composer, and a phenomenally good reader of film. I truly wish he would have spent more time writing music beyond cinema; his dramatic instincts would have served him well in other fields, I believe. That being said, his film music legacy lives on, and is an inspiration to all of us. I had the privelege of meeting him once in London, and he seemed a very sweet person, there was an aura of tremendous warmth about him; he seemed genuinely touched when I told him of a piece of mine that I had dedicated to him, and I feel he never quite got the recognition he deserved from the classical music world. So much of his music works incredibly well outside the context for which it was written, there is a very unique sense of structure to all his scores, a kind of symphonic conception of the score entire. Very often, his scores will contain really only two or three main elements that are then separated and explored singly, before ultimately being joined to form what might serve as a "main theme". Goldsmith was actually a far more contrapuntal musical thinker than what one might suspect upon an initial listen; there is a deceptively streamlined quality to his musical surfaces, which got even more and more "simplified" in the last decades of his career. I say 'deceptively', because I think Goldsmith's "point" was often not the material at hand, but rather the exploration of what kind of mileage you could get out of these devices. There is a lot to be learnt from him!

http://www.berkshire...spotlight-twood

I like it! It is quirky, but it's entertaining and very heartfelt at many points.

Well I just saw the film and on the whole I liked it quite a bit. The most obnoxious thing about the film was the music though. It was mixed way too loud (as was the whole soundmix in general) and Zimmer's endless rhythmic crashing threatened to turn me deaf several times.

Koray and Cremers together at last . This can only mean one thing: a Zack Snyder Superman movie. Lex Luther and Otis - we all know who's who

It was a great line up in 2003: Catch Me If You Can, Road to Perdition, Hours and Far From Heaven in addition to Frida. I am hard pressed actually to choose any of these fine contenders for an Oscar since they all are great in their own way.Papillon by Jerry Goldsmith: One of Goldsmith's absolute lyrical masterpieces and it initially surprised me with its beauty since it is written for such a harrowing tale.

My interest in Williams has lead me to many great composers that otherwise would have escaped me since they were primarily embedded in the film scoring scene. Goldsmith was amazing, and I really should spend more time with his music.

In the opening scenes I felt dread when Bane was on screen but later on they pussify him and he loses all of his intimidation factor.

It all points to being the Superman which disappears up its own arse amidst its artsy fartsy "expression" and provocative "style". Superman only in name.