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GerateWohl

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GerateWohl last won the day on January 14

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  1. Danny Elfman - Edward Scissorhands https://music.youtube.com/watch?v=L91w7A-VNh8&si=J7SMKtylV2c9jFjS&feature=xapp_share James Newton Howard - Grindelwald's Crimes https://music.youtube.com/watch?v=pmzI-4PQizA&si=IzHrSiRMd9QQmoi-&feature=xapp_share
  2. I find, it rather starts off like Beethoven's famous "Mondschein Sonate".
  3. I was quite disappointed at that time, because I didn't know who Danny Elfman was, but I was a big Prince fan then and it was rumoured that Prince would do the score for the movie. So, at first it was a big letdown to realize that someone else wrote the score. Still I think, this is far from Elfman's best work. But it served the picture well.
  4. I have recently come across TILL and found it a very fine score. That is the kind of minimalism that I really like. On the other hand Romeo and Juliet and Copernicus Star never did much for me. Found them rather superficial.
  5. Congatulations. So, you are one of the few VIP customers. I guess, next time I will also rather order at music box records.
  6. I can comprehend in that regard, as I recently, watching The Towering Inferno, found the music annoyingly loud and stressful at watching the movie. It was such a "Too many notes"-feeling, that I rarely have at watching Williams scored movies.
  7. Soundtrack Corner just cancelled my order because they didn't get enough copies. That's dis-ap-poin-ting.
  8. That reminds me, I never owned any Goldsmith LP apart from Legend. Later from a friend I made CD copies of Poltergeist, Total Recall and Mom and Dad Save the World. But my first original CD was this one. And that was the real game changer for me. Studs Lonigan became one of my favourite scores immediately.
  9. Watched yesterday the first episode of second season of Extraordinary on Disney+. This show is hillarious. I really love it.
  10. I remember an interview with John Williams from one of the concerts for the Violin Concerto with Anne-Sophie Mutter where he mentioned something like he plans to return to Berlin some time in the future. But nothing concrete.
  11. Why silly? I think, this is a topic worth discussing. For me your example we always an evidence, that Goldsmith wasn't super fornd of when directors asked him to write something like Williams did for a previous film. Goldsmith best efforts were achieved, when he wasn't asked to "do the Williams". Alien, The Omen, Poltergeist, Patton, Chinatown, Planet of the Apes, Basic Instict, Total Recall, Legend. For all of these there aren't any comparable Williams scores (at least none that existed beforehand). And these are all great. But in all of your examples not only Goldsmith's scores but also the respective movies are inferior to the Williams scored movies. So, it is not even in that regard Goldsmith fault. Why write something super original for a pale copy of a movie (even though Goldsmith did that often enough).
  12. I grew up with the Waltons. But it was no experience like "Oh, who wrote that great music?" It was rather later, when I got to know him, then recognizing "Oh, this was written by Goldsmith, too?". Just like Supergirl sounds like a parody Superman score and the Star Trek theme like a parody Star Wars theme. That is for me sometimes the issue with Goldsmith. That is probably why he seemed to me such a perfect match with Verhoeven. Because he also had that parody vibe in his movies.
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