Why ***/red, it should be */red

> Why ***/red, it should be */red -- What? Apparently, you don't know good film music. This score was perfect for the film. What was wrong with it? John Williams is the King of film music.
The Top Gun

let me guess Rafal, you like Hans Zimmer.

> let me guess Rafal, you like Hans Zimmer.

I like Zimmer too, doesn't mean that I don't like John Williams. Favoring particular composers is a folly I find in almost all filmtracks patrons. Even I tend to have a bias in favor of Jerry Goldsmith and Bruce Brougton. Now there really is nothing wrong with picking favorite composers who we seem to notice perform well on a regular basis, that's not where the folly lies. The problem can be found more so in how we often tend to exagerate that preference to a point where we feel that the composer can do no wrong and all others are inferior. That is where the folly lies.

> I like Zimmer too, doesn't mean that I don't like John Williams. Favoring
> particular composers is a folly I find in almost all filmtracks patrons.
> Even I tend to have a bias in favor of Jerry Goldsmith and Bruce Brougton.
> Now there really is nothing wrong with picking favorite composers who we
> seem to notice perform well on a regular basis, that's not where the folly
> lies. The problem can be found more so in how we often tend to exagerate
> that preference to a point where we feel that the composer can do no wrong
> and all others are inferior. That is where the folly lies.

100% agreed. I think this is a problem especially with JW fans. I like some of his scores (Amistad, SW, Lost World, AOTC, this one), some annoys me (Harry Potter).

My favorite is Hans Zimmer, but I'm a fan of film music not a particular composer.

> let me guess Rafal, you like Hans Zimmer.

So what. Me too.

> Why ***/red, it should be */red

By the ass I crush you

> Why ***/red, it should be */red

No. The review is accurate.

...Even his not so successful scores (in artistic or commercial sense) has always this "something" that it sticks in your mind (and often in the heart) for a long time (f.e. "The Accidental Tourist"). He is a master, you want or not

Tomek

> ...Even his not so successful scores (in artistic or commercial sense) has
> always this "something" that it sticks in your mind (and often
> in the heart) for a long time (f.e. "The Accidental Tourist").
> He is a master, you want or not

> Tomek

Sorry. Williams usually fails to evoke any emotions from me. He's too technical.

Pawel