Send E-Mail to this user Messages Posted: 2 Most Recent Post: Monday, September 11, 2006, at 8:26 p.m.
Not sure what to say here but I guess I should start by saying I'm a film music lover to the extreme. 90% of all my music is film scores and I've been buying them since I was a kid, even to the point of being picked on about it as a pre-teen and adolescent by my classmates. While my friends were jamming to the Eagles and KISS, I was in outer space with Jerry Goldsmith's LOGAN'S RUN and John Barry's KING KONG (note: Goldsmith happens to be my favorite composer of all time; nobody did it better!)
I had a sizeable vinyl and tape collection for years, then when CDs first arrived on the scene I was there, spending most of my money on the sparse number of scores that were available, which eventually paid off as over the last few years have had to auction my soundtracks on E-bay, but getting top collector dollar for my oldest and rarest scores. Keeping up with the market is something I hope to take more seriously however. (I have the original CD of James Horner's COCOON which was listed at about $250 before it was reissued).
I think Film Scores are the purest form of music, the sum of the composers breadth of knowledge mixed into a collective creative effort where his or her ego isn't the driving purpose behind their work, but rather to tell a story with sound, blending with the rest of the artistry at hand, which can be truly magical when it works. It's also the biggest gamble for a composer, for it's not just the audience but the other artists working on the project which the film composer must respect and enhance, not to mention in a very limited time frame to work in.