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.

An old interview from Film Music (not FSM) Q: How do you feel about film composing today? JG: I think a great deal of the two Newman brothers, David and Tommy. Also, I think another composer, Cliff Eidelman, is a great talent with amazing potential. Elliot Goldenthal seems very interesting to me as well. Then there are the old standbys--John Barry, John Williams and Elmer Bernstein. The newer ones I get a little scared about. I'm not exactly thrilled about the direction we're going in. I think the commercialism and the avariciousness of certain people has crept in and taken over for the art. I'm frightened with this new assembly line way of doing music. It's faceless, characterless, skilless, and sounds like the whole orchestra or somebody's playing between C above middle C and C below middle C. They're all playing at once, and the horns are always playing at the top register. That's the way it seems to go on for an hour and ninety minutes, and with that music it doesn't seem to make any sense either. They're just loud movies. It just gets so discouraging. People are trying to become very efficient and this type of film music is not cheap.

Where is the music from that was used in the trailer when Supes is talking to Lois on the rooftop? One forum said James Horner's Brainstorm, another said original John Ottman music. Anyone know? On the trailer itself ... some of you are right, the others are ... well, right too. There is more to the story than what was in the trailer. First off, James Marsden's character is no where in the trailer and he's integral. The movie has a few action sequences (the shuttle incident occurs early on; the airplane later, I believe.) However, the film is really about when a lost love returns in your life but you've moved on (conversely, when you reenter a lost love's life but they've moved on). Lois is in a serious relationship, is a mother-figure to a young boy (who may or may not be Lois's biological son) and has won her Pulitzer Prize for writing a story entitled, "Why the World Doesn't Need Superman, and Neither Do I" ... so I have heard. Anyways, trailer music. Anyone?

Oh dear. The Orlando Pops Orchestra? I'll have to relistened to it. But I say this: Orlando Pops did the WORST, WORST, WORST recording of Adventures on Earth. A complete mess. Disaster. The orchestra members were all over the place.

Christopher Reeve was introduced to John Williams by Richard Donner during the middle of principal photography of Superman:The Movie in 1977.

Why are we surprised anyways? The academy voters don't know anything about the craft awards which I put score with. Academy voters think loud movies usually have the best sound (when Shawshank Redemption had the best mix in 1994 I believe) and they think a movie that is very long or complex should get best editing (when it's about the editing within a scene that makes it worthy of an oscar: see the Fortress being created in Superman: The Movie.) Anne Dudley winning for "The Full Monty" ?? Brokeback?? Seriously, the craft awards need to be separated from the rest of the ballot.

I remember really looking forward to Roman Polanski's movie with John Travolta. I think it was called "The Double." Williams was already attached to the project even though it was still in preproduction. I thought that was odd, Williams being attached without seeing the movie. He usually only does that with directors he's worked with before. The movie I think was called "The Double."

John Ottman has just begun writing the score and nothing has been recorded yet.

Composer John Ottman and Director Bryan Singer are long time collaborators; I don't think it was ever a question whether Ottman would be replaced by an offer to Williams. The question is: If John Williams expressed interest in Superman Returns, how would that be handled by Singer and Co.? Would Ottman step aside rather than deny the world another Williams Superman score?

Does anyone know which version of the Planet Krypton was used in the teaser?

There has to be something between Clark and Lois. As was said previously by Singer, it's like an old gf/bf coming back into your life years later after you've moved on. I've gotten the feeling that director Singer is very much in love with Williams' score, and composer John Ottman really wants a score of his own without Williams' themes. So, it must be quite interesting to be a fly on the wall when they're talking about the score. On Bluetights or MySpace Group Click Here there's a summary of a recent interview that Singer gave at Princeton University where he briefly talked about Williams themes.