Did anyone else ever hide the fact you listened to film scores or were embarrassed to admit it to friends?

[Brando 1,864]

30 minutes ago, Bellosh said:

It was my single most wanted cue of all time that wasn't from an Indy score. I believe it has THE best rendition of the E.T. theme in the entire score.

It is an incredibly, ridiculously great rendition!

 

30 minutes ago, Bellosh said:

The Kiss represents everything we got into archaeology expanded scores for, Marcus Brando

I wish I could love react and laugh react at the same time

[Andy 4,141]

51 minutes ago, Bellosh said:

 

It was my single most wanted cue of all time that wasn't from an Indy score. I believe it has THE best rendition of the E.T. theme in the entire score.

 

Not to mention the transition to it is GODLY.

 

The Kiss represents everything we got into archaeology expanded scores for, Marcus Brando

Hell yeah and Amen!! Such effective scoring to the picture.  It’s freaking art.  I tear up every time.  
 

If Spielberg hadn’t tracked in ET is Alive over the scene where Toys was, would The Kiss be the first time the flying theme shows up chronologically in the film?

[Mephariel 451]

On 18/07/2022 at 3:25 PM, Bayesian said:

You must have had good reasons for specifically comparing/contrasting JW and Zimmer in your thesis, but I like to think there'll come a day when Zimmer's name isn't joined at the hip to JW's in academic or nonacademic contexts. Zimmer isn't even nearly at the same level of JW in almost any regard and the more people see the two men mentioned together, the harder it'll be to recognize that disparity.

 

Zimmer's fame is unavoidable, but the coattail-riding legitimacy he falsely earns by repeatedly being mentioned in the same breath as JW is what really sticks in my craw.

 

Williams and Zimmer are the two most successful and popular composers of our time. It makes sense to compare them and understand how their music are different or similar. You said that Zimmer's fame is unavoidable. His comparison with other successful composer in his era is also unavoidable. 

 

I think a better comparison though is the music Williams and Goldsmith and if there is a technical reason why Williams found so much more success than Goldsmith when it comes to public adoration. I mean in the recent Classic FM poll, Goldsmith wasn't even mentioned once in the top 100 scores. For me, Williams' music has much more emotional impact than Goldsmith's but I am not exactly sure how to express this technically. 

[Schilkeman 964]

I like to think of film composers as actors in the film as much as they are composers. They are taking on a musical role, and some actors have more range than others. I think Goldsmith's craft is comparable to Williams, but his range is narrower, a little more detached. It works perfectly for Star Trek, but would be miscast in TinTin, for instance. 

 

I don't think it's a coincidence that Williams got attached to the most competently varied film director of all time. Williams and Spielberg both have the supreme ability to maintain a personal style across a broad milieu of drama, comedy, and action. Goldsmith is more like Herrmann, I think, only a bit more accessible.  

[Mephariel 451]

17 minutes ago, Schilkeman said:

I like to think of film composers as actors in the film as much as they are composers. They are taking on a musical role, and some actors have more range than others. I think Goldsmith's craft is comparable to Williams, but his range is narrower, a little more detached. It works perfectly for Star Trek, but would be miscast in TinTin, for instance. 

 

I don't think it's a coincidence that Williams got attached to the most competently varied film director of all time. Williams and Spielberg both have the supreme ability to maintain a personal style across a broad milieu of drama, comedy, and action. Goldsmith is more like Herrmann, I think, only a bit more accessible.  

 

Why TinTin? I thought Goldsmith did a far superior animated score in Mulan. Also, I think Goldsmith is far more accessible than Herrmann. Like even his B level stuff like King Solomon's Mine is incredibly campy and accessible. Not to mention mainstream scores like The Mummy. 

 

But you bringing up Star Trek is what I am talking about. Star Trek, technically is an incredible score. The main theme has all the hallmarks of a classic movie theme. But I never found Star Trek to have the same emotional appeal as Star Wars. The Star Wars main theme is just more romantic and enticing to me. The Jedi Theme just instantly makes you feel the honor and responsibility of a Jedi. When you hear Duel of the Fates, you truly think the fate of the universe is at stake. I can't think of a single Goldsmith cue that makes me think that way. 

 

Technically I can't explain it though. I don't know enough about music to point out the specific melodies or harmonies or counterpoints or the use of choir that make Williams emotionally superior. 

[Yavar Moradi 2,599]

34 minutes ago, Schilkeman said:

I like to think of film composers as actors in the film as much as they are composers. They are taking on a musical role, and some actors have more range than others. I think Goldsmith's craft is comparable to Williams, but his range is narrower, a little more detached. It works perfectly for Star Trek, but would be miscast in TinTin, for instance.

Tell me you’ve only heard 10% of Goldsmith’s output without telling me you’ve only heard 10% of Goldsmith’s output.

 

There is literally no composer with a wider range than Goldsmith. None. Nobody else who excelled in as many different genres and styles as he did. Williams suffered from typecasting more because he scored more successful films.

 

Goldsmith detached? (Emotionally??) I guess you’ve never heard Rudy?

 

Yavar

[Schilkeman 964]

6 minutes ago, Yavar Moradi said:

Tell me you’ve only heard 10% of Goldsmith’s output without telling me you’ve only heard 10% of Goldsmith’s output.

 

There is literally no composer with a wider range than Goldsmith. None. Nobody else who excelled in as many different genres and styles as he did. Williams suffered from typecasting more because he scored more successful films.

 

Goldsmith detached? (Emotionally??) I guess you’ve never heard Rudy?

 

Yavar

Settle down, we're all fans here. I've heard just about every score Goldsmith has ever done. I stand by my statement, and I said "a little more detached," not detached, when compared to Williams, in an attempt to answer the above question of why Williams resonates more with the general public than Goldsmith. 

[Mephariel 451]

5 minutes ago, Yavar Moradi said:

Tell me you’ve only heard 10% of Goldsmith’s output without telling me you’ve only heard 10% of Goldsmith’s output.

 

There is literally no composer with a wider range than Goldsmith. None. Nobody else who excelled in as many different genres and styles as he did. Williams suffered from typecasting more because he scored more successful films.

 

Goldsmith detached? (Emotionally??) I guess you’ve never heard Rudy?

 

Yavar

 

Rudy is one of my favorite scores of his. So is Mulan. And yes, because of their emotional power. But largely I agreed that Goldsmith's music more detached than Williams and some of my other favorite composers. 

[Schilkeman 964]

17 minutes ago, Mephariel said:

Why TinTin? I thought Goldsmith did a far superior animated score in Mulan.

Those are both animated movies. They are not the same kind of animated movie.

[Faleel 5,359]

 

Not on youtube: "The Student"

 

 

The ascending Motif in this:

 

[Mephariel 451]

4 minutes ago, Signals said:

 

Not on youtube: "The Student"

 

He actually already did a more emotional version of this:

 

 

But what you posted is to me still emotionally a step below Theme from Schindler's List, Duel of the Fates, or something like this:

 

 

There is something in Williams' composition that sinks into your heart. You feel it really deeply. 

[Faleel 5,359]

Sand Pebbles was first.

 

And it's not the composition, it's the orchestration, dousing it in choir or violin/cellist solos.

 

Satellite Celebration/Song for World Piece is better btw.

[Schilkeman 964]

I think Hymn to the Fallen is over-composed, so I'll take the Sand Pebbles, but I still don't find Goldsmith as emotionally specific as Williams.

[Faleel 5,359]

9 minutes ago, Schilkeman said:

I don't find Goldsmith as emotionally specific as Williams.

Can you explain what this means? Genuinely curious, not jumping you.

[Schilkeman 964]

31 minutes ago, Signals said:

Can you explain what this means? Genuinely curious, not jumping you.

Well, this is where using words for abstract concepts like music can come up short, so forgive me if I don't articulate it clearly.

 

I feel with Goldsmith that he has large buttons he presses, with labels on them like Big, Happy, Sad, Love, Cute, Dark, Mysterious and Harsh. Western and Jazz get their own buttons. They feel broad, and can be applied to any situation where they feel appropriate.

 

Williams does this too, especially with action music, but when it gets time to get emotionally specific, like, my only friend in life is leaving in a spaceship, or, I'm finally meeting the jazz hero my father loved (just two examples), he can deliver music that both transcendentally pierces the heart, and is existential to the film. Despite all the examples that get shared, or scores I listen to, I never get this from Jerry. There's probably something wrong with me, but there it is.

[Faleel 5,359]

Thank you for the explanation.

[MaxMovieMan 273]

Yes I’ve always hid it. I relate to this thread a lot tbh. Part of the reason I joined this forum is because there’s no one in my life who I can talk to about the intricacies of film scores with. I enjoy mainstream music as well but film scores are bar and none my favorite.

[Jilal 569]

I don't think I've ever actively hidden my interest in film scores. In fact I feel like life would be easier if people didn't hide (parts of) themselves behind facades all the time. My best friend is into metal, but we get along nevertheless and often talk about our respective interests.

[GerateWohl 4,371]

When I was a teenager and people took a look at my record collection nobody cared for my soundtrack albums. They rather gave me a look, when they saw, that I owned a pointer sisters album. Disco was not well regarded in my environment at that time.

[TolkienSS 407]

Why would a grown man hide what he enjoys, unless it's criminal?

[Gabriel Bezerra 302]

Is this retorical? There's a bunch of answers to this question.

[Ollie 1,059]

No I’ve never kept it hidden. But growing up I had other music I enjoyed listening to. If I had friends over we would listen to pop, rock, R&B etc etc. 

 

My early years of film music was reserved for my alone time, until high school when I met my best friend. He and I would gather our soundtracks and listen and discuss the music. And through out adulthood I’ve gotten the usual reactions of cool / neat to huh?

 

And with the advent of social media, if I had friends who didn’t know, they know now. 😄
 

 

[Jurassic Shark 12,084]

When people ask, I usually include film music with the other types of music I listen to. 

[Brónach 1,302]

14 hours ago, Schilkeman said:

I think Goldsmith's craft is comparable to Williams, but his range is narrower, a little more detached.

 

bullshit

[Jurassic Shark 12,084]

Less refined for sure.

[Brónach 1,302]

13 hours ago, Yavar Moradi said:

Goldsmith detached? (Emotionally??) I guess you’ve never heard Rudy?

 

Hoosiers is better!

 

13 hours ago, Schilkeman said:

Those are both animated movies. They are not the same kind of animated movie.

 

wrong Goldsmith score to look at!

 

also the movie is Spielberg enough that the idea is weird

 

now Minority Report... somehow also very Spielberg (he does this always to the material lol) but i can see Jerry doing that Spielberg...

 

sticking to this time period, do i see JW doing The 13th Warrior? hmmm

 

(deep down, i admit i see both doing everything, but there's a lot of obvious typecasting going here with both)

[Schilkeman 964]

9 minutes ago, Brónach said:

wrong Goldsmith score to look at!

I wasn’t comparing them. Someone else was.

 

9 minutes ago, Brónach said:

also the movie is Spielberg enough that the idea is weird

I don’t know what this means.

 

I say this as a Goldsmith fan. I do not like either Rudy or Hoosiers, and I definitely don’t think they prove my point for the negative.

[Brónach 1,302]

I know that i struggle to connect with Ennio the most of the three, but that when it works, it feels as if the achievement is greater than the other two.

 

But now i'm thinking if my perception of the aesthetics in many Jerry scores is affected because to me that music is abstract. I haven't seen many of these movies. After wading through in them abstract form my attachment is really strong, and the "emotional specification" can be there, it's just that it's in my head, as in with absolute music in general.

[Naïve Old Fart 9,552]

4 hours ago, TolkienSS said:

Why would a grown man hide what he enjoys, unless it's criminal?

 

There are things a man prefers to keep... private 

[Brónach 1,302]

how many GB do you have in your "Hans Zimmer and others" folder, private man?

 

(it's me, i have such folder)

[Naïve Old Fart 9,552]

I have no scores in any digital form, whatsoever.

All by my music is physical.

[Thor 7,519]

4 minutes ago, Naïve Old Fart said:

I have no scores in any digital form, whatsoever.

All by my music is physical.

 

That's impressive. I don't think I've known anyone who didn't at least have some digital music files on their harddrive.

[Brónach 1,302]

you don't rip them Fart?

[Marian Schedenig 8,207]

13 minutes ago, Brónach said:

you don't rip them Fart?

 

[Yavar Moradi 2,599]

18 hours ago, Schilkeman said:

Settle down, we're all fans here. I've heard just about every score Goldsmith has ever done. I stand by my statement

 

If that were true, you wouldn't stand by that statement. In fact if you even just own and have listened to most Goldsmith albums ever produced (which still leaves off a TON of TV and radio output), I can't fathom holding that opinion.

 

18 hours ago, Schilkeman said:

I said "a little more detached," not detached, when compared to Williams, in an attempt to answer the above question of why Williams resonates more with the general public than Goldsmith. 

 

I would think the answer to that is obvious, and it has little to do with the quality of their work, but rather the popularity of their films: Williams has scored many, many more beloved blockbuster films than Goldsmith, which are still widely remembered and are a part of pop culture. Williams has Star Wars + Harry Potter + Home Alone + almost all of Spielberg, from Jaws and Raiders to Jurassic Park and Schindler's List.

 

Goldsmith has The Mummy... and all the subsequent scores in that franchise forgot his thematic material and started afresh. Goldsmith has Alien... and all the subsequent scores in that franchise forgot his thematic material and started afresh.  And of course there's the biggie: Goldsmith has Star Trek... and until Star Trek: Picard (with a handful of minor exceptions in early TNG scores), he was the only Trek composer who used his theme(s). Maybe the only semi-lasting franchise to maintain Goldsmith themes was Rambo... a rather dated one, to say the least. But Goldsmith scored the first three films and used a consistent theme, and Goldsmith superfan Brian Tyler made sure to maintain that primary them and secondary action motif with his two follow-up scores.

 

Goldsmith has Seconds and Chinatown and Patton and The Sand Pebbles, yes... all films that are regarded very highly by film buffs but which don't still have the cultural cache of the popular franchises with which Williams is connected. So often Goldsmith would have the misfortune to get "Williams leftovers" like The Swarm (after a string of Irwin Allen megahits with Williams scores, he comes on for the huge disaster bomb) or the terrible Supergirl.

 

Goldsmith scored well over a dozen westerns and each of those scores is superb and varied; no two sound alike really! But that's in part because none of them was super-successful or iconic like Bernstein's The Magnificent Seven. So Goldsmith wasn't asked to repeat himself and imitate a successful sound on subsequent genre scores as Bernstein was. I don't think any of Goldsmith's numerous westerns is regarded as an iconic classic like westerns scored by Morricone, Bernstein, or even The Cowboys like Williams (somewhat iconic and remembered as the western where John Wayne was shot in the back and killed; Goldsmith's John Wayne western was the virtually forgotten Rio Lobo). Lonely Are the Brave is a GREAT film and coincidentally one of Spielberg's favorites, but it was so obscure that when Spielberg wanted to screen it for friends he was shocked to discover there was no DVD release of it, and he had to make one happen!

 

If you're really such a big Goldsmith fan and have heard as much of his work as you claim, I'm honestly shocked I have to explain this to you, and that you'd think Goldsmith's lesser popularity compared to Williams is due to some inferiority in his musical approach instead.

 

17 hours ago, Schilkeman said:

I think Hymn to the Fallen is over-composed, so I'll take the Sand Pebbles,

 

On this at least we agree. In fact, I think Hymn to the Fallen is overblown manipulative emotional mush (which is I guess fitting for those cringeworthy Saving Private Ryan bookends). Hymn to the Fallen might be my single least favorite Williams composition, come to think of it.

 

17 hours ago, Schilkeman said:

but I still don't find Goldsmith as emotionally specific as Williams.

 

I really take issue with this. I mean, it's totally subjective so if you don't find him to be, then fine I guess. But The Sand Pebbles has many moments that feel very emotionally specific and sophisticated, whereas "Hymn to the Fallen" for me is a great example of Williams NOT being emotionally specific or complex.

 

17 hours ago, Schilkeman said:

Well, this is where using words for abstract concepts like music can come up short, so forgive me if I don't articulate it clearly.

I feel with Goldsmith that he has large buttons he presses, with labels on them like Big, Happy, Sad, Love, Cute, Dark, Mysterious and Harsh. Western and Jazz get their own buttons. They feel broad, and can be applied to any situation where they feel appropriate.

 

Williams does this too, especially with action music, but when it gets time to get emotionally specific, like, my only friend in life is leaving in a spaceship, or, I'm finally meeting the jazz hero my father loved (just two examples), he can deliver music that both transcendentally pierces the heart, and is existential to the film. Despite all the examples that get shared, or scores I listen to, I never get this from Jerry. There's probably something wrong with me, but there it is.

 

Again, subjective. I've heard plenty of people say the same thing you just did about Goldsmith, but apply it to Williams. But for an illustrative example let's examine some of the respective love/relationship themes by both composers. I ADORE Williams love themes. But please tell me how his Princess Leia theme is anything other than "broad". Please tell me how it is substantially different in sound/approach from the great Han/Leia theme he wrote for the subsequent film, or how either of those is substantially different from Marion's Theme in Raiders of the Lost Ark. To be completely blunt, as great and iconic and memorable as all of these themes are... in an alternate universe where Williams put his Marion's Theme composition in Star Wars for Princess Leia, and his Princess Leia theme in Raiders for Marion, they would still work well and nobody would bat an eyelash. They are "large buttons" themes as you put it, rather than being super specific and unique to those characters. I've heard similar criticisms echoed by many about Helena's Theme in his recent Dial of Destiny score -- that it does NOT feel very specific to that character or her situation.

 

Now let's look at Goldsmith -- though "simple" in some ways, the "love theme" in Seconds feels very emotionally complex and specific as a lost (i.e. faded into the past as a distant regretful memory) love theme. There's a sense of irretrievable loss about it. But it's very distinct from the tone of say his love theme in The Wind and the Lion (which isn't even one of my favorites to be honest). But that theme also has a whiff of the past, and longing for it, but in a more positive/romanticized sort of memory way. Now let's jump to a 90s score, and look at a period which many people dismiss or look down upon in Goldsmith's output, because he simplified and streamlined his style so much... let's look at First Knight, on its surface a very two dimensional (though quite enjoyable) sort of comic book "medieval" score, almost. But that love theme is so specific (and yet so malleable)! To me there's a sense of longing in it similar to The Wind and the Lion, but unlike that theme it very much lives in the present moment. It sounds like a living love which is ill-fated and simply cannot be consummated (working overtime to elevate a relationship which in the film is very flat). It sounds very specific to the Lancelot/Guinevere/Arthur love triangle. You absolutely could NOT pick it up replace another 90s Goldsmith score's love theme with it, and have it remotely work. Can you imagine First Knight and The Mummy trading love themes and those themes not feeling totally inappropriate in their new contexts?

 

I'm sorry that you haven’t heard any music from Jerry that you find "both transcendentally pierces the heart, and is existential to the film". I've heard a great deal...even in films that are terrible (which is to say the least a huge disadvantage, when it’s something as bad as say…Damnation Alley.) And I very much feel his main theme for the Rambo franchise fits in with that description.

 

Yavar

[Brónach 1,302]

nothing to add, other that it makes sense to me that Leia related themes sound related

[Yavar Moradi 2,599]

Ah, but then the Luke/Leia sibling love theme in Return of the Jedi is very distinct and different from her other two.  That one feels a bit more emotionally specific, to me.

 

Yavar

[Damien F 1,742]

I love Goldsmith. He's my second favorite composer after JW. I think Arthur's Farewell from First Knight is the closest Goldsmith came to Duel of the Fates but I still prefer the latter by a considerable margin.

 

The finale from The Omen 3: The Final Conflict (from 4:45 below) is a stunning religioso moment of film score. I feel it's been somewhat forgotten and overshadowed by the original's score but it's amazing.

 

(And yes, as my name is Damien, I'm probably predisposed to liking anything from The Omen  )

 

 

[Brónach 1,302]

the pun was an accident

 

i always thought the love theme in Hellboy sounded more specific than expected. i don't think love themes have to sound in a particular way. (it's also a case of "doubles for the girl" that i don't like, but, ironically, "han solo and the princess" is that in reverse)

[Yavar Moradi 2,599]

1 minute ago, Damien F said:

I love Goldsmith. He's my second favorite composer after JW. I think Arthur's Farewell from First Knight is the closest Goldsmith came to Duel of the Fates but I still prefer the latter by a considerable margin.

So do I to be honest, as a standalone piece of music. (This time it is WILLIAMS who had the misfortune of a great piece of music being attached to a miserable film, lol… my memories of the prequel films absolutely negatively impact my ability to enjoy his music for them, at times… and it’s not like First Knight is a very good film but I’ll take it over The Phantom Menace any day, lol.)

 

I’ll say this in defense of Goldsmith’s First Knight piece: it was clearly another case of Carmina Burana temp-tracking that has plagued Hollywood… whereas I think Williams was given more free reign to do his own thing with Duel of the Fates.

 

I do think Goldsmith managed to ape the Carmina Burana temp track less than Horner did at the end of Glory, at least (though I still love that cue, too…)

 

I think Basil Poledouris did the best with it out of those three masters, in Conan the Barbarian. He more made it his own and allowed me to forget the original Orff.

 

Yavar

[Schilkeman 964]

3 hours ago, Yavar Moradi said:

I really take issue with this. I mean, it's totally subjective so if you don't find him to be, then fine I guess.

You could have just said this, instead of essentially calling me an ignorant liar, and saved yourself a lot of trouble.

[Edmilson 7,470]

3 hours ago, Damien F said:

And yes, as my name is Damien

Are you the Anti-Christ?

[Schilkeman 964]

12 hours ago, Yavar Moradi said:

Please tell me how it is substantially different in sound/approach from the great Han/Leia theme he wrote for the subsequent film, or how either of those is substantially different from Marion's Theme in Raiders of the Lost Ark. To be completely blunt, as great and iconic and memorable as all of these themes are... in an alternate universe where Williams put his Marion's Theme composition in Star Wars for Princess Leia, and his Princess Leia theme in Raiders for Marion, they would still work well and nobody would bat an eyelash. They are "large buttons" themes as you put it, rather than being super specific and unique to those characters. I've heard similar criticisms echoed by many about Helena's Theme in his recent Dial of Destiny score -- that it does NOT feel very specific to that character or her situation.

At no point was I discussing themes, but rather scenes where a specific emotional resonance is required, or if not required, provided nonetheless, by Williams.

 

But since you brought it up, I would be careful not to confuse romantic with romance. One is a musical style, and one is an emotion. Leia's theme is romantic. It is not a romance theme, and while Williams uses very similar building blocks for a lot of his themes, he can achieve very different emotional tones through his use of harmony and orchestration, and while I find Goldsmith's use of harmony sophisticated and interesting, it does not feel specific and direct to me in the way Williams uses it. I have heard few themes from Goldsmith with the kind of synchronistic emotional diversity of say, Anakin's theme, or Cadillac of the Skies, or Schindler's List. I think First Contact gets pretty close, as does Chinatown, Alien, and, as you mentioned, Rambo, also, some of his earlier themes like The Black Patch. I find themes from films like Rudy, Hoosiers, and Patton to be insipid and shallow.

 

This is all subjective, of course, which shouldn't need to be said. I could counter your dislike of TPM by saying that if you knew as much about Star Wars as I did, you wouldn't think the way you do about, what I believe to be, a daring and intelligent film. However, you may very well have done all your homework and reached different conclusions than I have, and I think no less of you for it. I like Goldsmith's music a great deal. It just speaks to me differently than it does to you. No harm, no foul.

[Yavar Moradi 2,599]

12 hours ago, Schilkeman said:

You could have just said this, instead of essentially calling me an ignorant liar, and saved yourself a lot of trouble.

Oh I was just calling you ignorant. (The whole “tell me you’ve listened to only” thing.) I wasn’t calling you a liar. I don’t see how both works, to be honest. If you don’t know any better, of course you’re wrong with your statement but you clearly are sure you’re correct so you’re not lying.

 

Look, you can say you can’t picture Goldsmith being versatile enough to score TinTin… but that makes about as much sense as saying John Williams couldn’t do Planet of the Apes. These are great and perfect scores wedded to their films, so of course one can’t imagine someone else doing better than was done.

 

You want to play a diversity game? Name ten Williams scores that are the most different from each other, that have the least in common musically/emotionally. Then I’ll do the same with Goldsmith. Let’s see how this goes.

 

Yavar

[Jay 37,372]

Yavar, the character's name is Tintin, not TinTin.

[Yavar Moradi 2,599]

15 minutes ago, Jay said:

Yavar, the character's name is Tintin, not TinTin.

Yes, I forget every now and then (not sure why). Thanks.

 

Yavar

[Schilkeman 964]

Is there some other thread we could be doing this in?

 

I want to be clear, because I've made two separate arguments to different people that

1. I find John Williams has a bit more stylistic and compositional range than Goldsmith, not that Goldsmith lacks stylistic or compositinal range, or that he lacked the skill to write exactly what he meant to at any given time.

 

2. I find that Williams is able to elicit more direct, specific, and synchronistic emotions from me when listening to his music. This, more than stylistic variety, is the main difference I experience with their respective music.

 

I will play this game once, because I'm bored and have nothing better to do lol

 

The Cowboys

 

 

Images

 

 

Cinderella Liberty

 

 

Close Encounters of the Third Kind

 

 

Raiders of the Lost Ark

 

 

Heartbeeps

 

 

Always

 

 

Hook

 

 

Schindler's List

 

 

Lincoln

 

 

[Gabriel Bezerra 302]

This went from a thread about hiding tastes to an exemplification of why sometimes we hide our tastes.

[Yavar Moradi 2,599]

On 13/9/2023 at 10:15 AM, Schilkeman said:

Is there some other thread we could be doing this in?

Thanks for your post. I’ll plan to start a new thread soon (unless you beat me to it) so we stop derailing this one.

 

Yavar

[Schilkeman 964]

On 13/9/2023 at 12:35 PM, Gabriel Bezerra said:

This went from a thread about hiding tastes to an exemplification of why sometimes we hide our tastes.

Yes, the more contentious (and fun) issue around here is not liking film music, but liking some film music more than others. 

1 hour ago, Yavar Moradi said:

Thanks for your post. I’ll plan to start a new thread soon (unless you beat me to it) so we stop detailing this one.

 

Yavar

At thread, his ears open 

 

I look forward to it.