Scores that should have won but didn't:
The Prince of Tides
Poltergiest (yes I still like E.T.)

Scores that didn't get nominated:
Silence of the lambs (or did it?)
Jaws 2
MANY Goldsmith scores!!

Dan (UK)

Raiders of the Lost Ark should have won BY FAR!

Braveheart
The Thin Red Line
The American President (comedy)
The Empire Strikes Back (lost to Fame! c'mon)
Batman (not even a nod!?)
Goldfinger (in my opinion, huge 007 fan)

Been thinking of getting is polished, shaved. Anyone out there had this happen?

As for the Oscars, let's not get worked up about that. It's primarily political and rarely has anything to do with how good something is. Sometimes we get lucky and one of "ours" gets selected.

Hey, it's just an awards show. You can show how you feel by buying a CD.

Jeron your right, Mulan should have gotten it.

SFT I'm with Good Will Hunting should have gotten it.

Side Note..That Menken got any awards for his lame filler music scores not to mention so many of them is an abomination IMHO.

Chinatown
The Wind and the Lion
Poltergeist
Under Fire
Basic Instinct

And I also think it is time for that sloppy acadamy to let Elfman win!

SFT

NP: Extreme Measures, Danny Elfman

Tiomkin was well liked in Hollywood and went around really promoting the score as one of the best things he'd done (it's not), whereas Moross, while not an outsider, was shy and less self-promoting. Needless to say, Moross' score is one of the best scores ever and Tiomkin's (and I love Tiomkin) is one I rarely ever play.

Oscar politics make most of Oscar selections ridiculous anyway, but we all know that....

In 1956, all the composers got together in collusion to see that Vic Young (who had just died and had never won an award) won his Oscar postumously. I'm sure similar conversations go on today.

Someone working in Hollywood once told me (and there is no way of knowing if it's true) that the reason Goldsmith doesn't win Oscars is that he's respected but not liked. Someone else in Hollywood told me that Goldsmith isn't even respected, that "He's the guy you get when you can't get Williams."

VERTIGO
NORTH BY NORTHWEST
PSYCHO

and too many more to post...the Oscars SUCK!

:-)

A thought on whether Goldsmith is "liked" or not. I think the problem with him hasn't been "likability" but the voting members' ENVY of him. I think ENVY was also the motivating factor behind James Horner and Danny Elfman being snubbed for so long.

Now Horner and Elfman HAVE been nominated, along with the likes of James Newton Howard and Mark Isham. Why? Perhaps because the nominating board is skewing ever younger, and the younger composers are more likely to nominate their peers. Some of these kids might well see Goldsmith as being "over the hill."

Williams keeps getting nominated almost by reflex, I think -- also, he'll always be a God to the younger generation because he did STAR WARS, so how could he do any wrong?

Another problem Goldsmith might have is that, unlike Williams, he does so MANY projects, and picks them seemingly indiscriminately at times. This year, Williams did THE PHANTOM MENACE (Star Wars, nuff said) and ANGELA'S ASHES, a high-profile drama based on a bestselling memoir. Goldsmith did the mediocre MUMMY, the overbudgeted insta-flop 13TH WARRIOR, and the utterly ghastly THE HAUNTING. That he did good work on all of these is immaterial; I think the Hollywood community increasingly perceives Goldsmith as (I shudder to say it) a hack.

But I can't think on anything more shamefull than 1986:

- THE MISSION
- HOOSIERS
- STAR TREK 6
- ALIENS

And the winner is.... ROUND MIDNIGHT (which isn't even an original score !!)

STAR TREK *4* not *6* (but you knew that; just a slip of the old fingers, I'm sure) --

-- and -- the "Oscars being a popularity contest" quote was borrowed from YOU!!!

NP: RIO CONCHOS (Goldsmith, FSM version)

So Elfman is a "Goldsmith groupie"?? At least the guy has some good taste for film music afteral!

NP: My girl's sneezing at my side

I was scarred for life.

Several years later I watched again as Williams's "Superman", and Goldsmith's "The Boys From Brazil" BOTH LOST to Georgio Moroder's "Midnight Express".

Scarred twice.

HERE IS THE PROBLEM WITH THE OSCARS:

The Nominating Process is usually very accurate, because actors nominate their peers, and on down the line (editors nominate editors, writers nominate writers, etc.).
So, the nominees usually are the most deserving of being awarded.
If I were King Of The World, HERE is where the process would stop.
ALL nominees would actually be the WINNERS for that year!

THE PROBLEM is that then ALL of the nominees are voted on by the entire Academy, which means that actors are voting for editors, writers are voting for sound effects technicians, and ALL of them are voting for composers.
THAT is why "Chariots Of Fire" won!
AND "Love Story"!
Even Randy Newman said last year, "Well, now that I'm an Academy Member, I get to vote for the best editing. What the hell do I know about editing?"

Otherwise I agree, The Mummy was the bomb.

The Academy has become a politicized Mutual Admiration Society, tone deaf to boot.

No award for Jerome Moross' The Big Country, one of the greatest accomplishments in all music, not just film music.

No award for Vertigo, NbyNW, Psycho.

And Star Trek-TMP losing to a non-descript Delerue effort, that was simply criminal, IMHO.

I was only passing along gossip. I think many do think of Goldsmith as a hack which is criminal.