GerateWohl

Congatulations. So, you are one of the few VIP customers. I guess, next time I will also rather order at music box records.

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.

Soundtrack Corner just cancelled my order because they didn't get enough copies. That's dis-ap-poin-ting.

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.

And the OST is quite ok as well.

I want that one!

Watched yesterday the first episode of second season of Extraordinary on Disney+. This show is hillarious. I really love it.

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.

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).

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.

I bought it for 100€ shortly before it got reissued for the anniversary.

Ok. I wasn't talking about a life crisis or something like that. This is nothing serious.

Why am I asking this? Because for me this wasn't love at first sight. Since the age of 11 I was visiting record stores and scrolling through the soundtrack department. I was the greatest Star Wars fan on earth and a big science fiction fan, too. So I recognized the compoer name on records like Alien or Star Trek TMP, which probably was the first movie with a Goldsmith score, that I had ever seen. Later I saw Logran's Run (on TV) and Gremlins. But his scores more or less did their job. Different from John Williams, who's scores made me immediately want to listen to them outside the movie. Tbh, the first time I actually recognized the Goldsmith Star Trek theme was at the title credits of the Star Trek Next Generation TV Show, so little of an impression it made on me, when I watched the movie. I neither watched Alien nor The Omen or Poltergeist. I was too young at the time. The score that made me want to dig deeper into his work was "Legend". I bought the record more or less by the cover. I had iked The Last Unicorn, this was again a fantasy story with unicorns and a red bull, I like Ridley Scott's previous movie "Bladerunner", so I was hooked and really fell in love with the score. Luckily I didn't watch the movie at that time. For a long time Legend was the only Goldsmith score I owned. Finally a broader interest in Goldsmith was woken up by my first discussions with two other movie score conaisseurs, which I met in my 20s. Studs Lonigan, the two Poltergeists, The Omen, Mom and Dad Save the World, Total Recall, Planet of the Apes and a big deal was later L.A. Confidential. And the Alien expansion. Still I would say, that I admire much of his music, but I don't necessarily love it. Overall I would call his movie music brillantly operational. Or to say it differently: Is he one of my favourite composers? No. s he one of my favourite movie composer? Yes.

Right! I forgot about those. Now I feel the pain again.

Thanks. Probably I give some of these a listen. His only score I once had (and liked) was The Quiet American, which is basically a beautiful but typical 90s ambient triphop score à la Portishead with piano and strings. But I am curious about his more orchestral efforts.

Sounds like a fair deal to me. Not in stock. But I could offer you Trope's kidney.

That was probably the most expensive 2-CD set, that I ever bought. And I hardly listen to it. The OST has a much better flow. And when I feel like listening to Home Alone I rather go for the Home Alone 2-CD set anyway.

For me Armstrong always was basically an electronic musician, who just uses occasionally orchestral arrangements to enrich his electronic soundscapes. Like Zimmer and others, too. This comes from firstly, how I got to know them (from their electronic music) and the way they use the orchestra (use the orchestra instruments as rhythmic patterns or enriching sound carpet). Surely I don't do them completely justice by that view. But that's how I feel about it.

Which soundtrack albums do you regret not having purchased, when they were available at a reasonable price on the primary market? Unfortunately I didn't get my hands on John Williams - The Fury (Expansion) James Horner - Brainstorm (OST) Bernard Herrmann - North By Northwest (Joel McNeely re-recording) Ernest Gold - Exodus (Prague re-recording) Philippe Rombi - Angel (OST) For the rest I am fine with my collection. Maybe the Jaws 2 expansion would have been nice. But there I am quite happy with the OST.

I do.

First, to a certain extent this is a music award. And secondly, in the end it is up to the academy members if they vote based on their personal musical taste or on their preference on musicals or Drama scores or on the originality of musical sound effects. I guess, there is no fixed catalogue of criteria that people are obliged to follow on their vote. For the nomination maybe yes. But not for the final vote on the winner.

The question if a music score is worthy a musical life on its own apart from the picture is relevant for a film score award. Otherwise, how do you explain Fame winning over The Empire Strikes Back? I guess, nowadays it plays a role, that the Oppenheimer score may sound better via the build-in loudspeakers of mobile phones than Williams complex orchestra.

Right. I am also not really waiting for that to happen. Actually, I am not expecting Williams to write any more movie scores.

Sorry. I don't want anymore franchise blockbuster scores by Williams. The only franchise sequel, that I would love to be scored by him is Tintin 2.

Right. But even the term "modern" is an old fashioned one in the meantime. Not really. I just said, DoD was the best score, not that it is going to win.