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Author	Topic: What was the toast of 82?

HAL 2000 Oscar® Winner	Ah 1982. It was a very good year... scorewise that is. We got Conan the Barbarian, ET, Poltergiest, The Dark Crystal, Monsignor, Tron, Bladerunner, The Secret of NIHM, First Blood, The Challenge, Dead Men Don't Wear Plaid and ST2: The Wrath of Khan to name a few. The Academy thought ET was the best score that year. What do YOU think it was?
posted 07-10-2000 07:41 AM PT (US)

Greg Bryant Oscar® Winner	Without a doubt, Poltergeist. Goldsmith's best and sharpest score in the last two decades, and the one that manages to make itself known among an already standout crowd that great year. I always thought that Poltergeist should have taken home the Best Score Oscar that year.
posted 07-10-2000 08:30 AM PT (US)

HAL 2000 Oscar® Winner	Ironically, Gregg, at that time I thought ET was the best score but today I agree with you. In fact I haven't played ET in about three years while Poltergeist keeps finding it's way back into my CD player. Actually, ET now comes in third behind Poltergeist and Conan.
posted 07-10-2000 08:47 AM PT (US)

JJH Oscar® Winner	1982 looked like it was Goldsmith's year alright. Though I love ET and wouldn't allow it to take a back seat to any of the others there. Poltergeist is up there, too, though. NP -- Thin Red Line, Hans Zimmer<-- the only Zimmer I undoubtedly adore, for some reason
posted 07-10-2000 08:54 AM PT (US)

Brad Wills Oscar® Winner	POLTERGEIST if for no other reason than that Goldsmith scored a guy puking and managed to make the orchestra sound like it was retching its guts up. CONAN was unmatched in its epic scope while still managing to find the humanity amid all the comic book grunting and posturing. The searing FUNERAL PYRE has stuck in my mind for 18 years now and THE AWAKENING is just shear glory. A grand throwback to the epic scores on Rozsa. It's certainly a tough call that year, though. ET was the most emotional of all the scores, but in retrospect I find it to border on the manipulative (as I do all Spielberg, BTW). DEAD MEN DON'T WEAR PLAID, another grand throwback and Rozsa's last score. Saddled with the formidable task of writing new music to fit on top of existing music in old film clips, Rozsa lovingly paid tribute to, and spoofed, his noir roots. QUEST FOR FIRE, BLADE RUNNER, TRON, STAR TREK II, VICTOR/VICTORIA, THE THING, everything that Goldsmith did...the list goes on and on. [This message has been edited by Brad Wills (edited 10 July 2000).] [This message has been edited by Brad Wills (edited 10 July 2000).]
posted 07-10-2000 10:20 AM PT (US)

H Rocco Oscar® Winner	Just an impossible bunch of choices, but I know that my favorite from that year is Goldsmith's FIRST BLOOD.
posted 07-10-2000 10:25 AM PT (US)

mlw Oscar® Winner	If you mean, which ones still kick my ass and send me into giant Big Wednesday-like waves of reverie and inspiration, that would be Conan the Barbarian and The Challenge (Midwesterners beware of my extended Conan rave in the latest issue of SEEN hitting Borders stores and pathetic beer-soaked dives in at least three cities.) [This message has been edited by mlw (edited 10 July 2000).]
posted 07-10-2000 02:26 PM PT (US)

Darth Fart Oscar® Winner	First Blood is the one for me.
posted 07-11-2000 12:29 AM PT (US)

Bulldog Oscar® Winner	Of the nominees, POLTERGEIST got shafted. NIGHT CROSSING, anyone?
posted 07-11-2000 05:15 AM PT (US)

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