Each of the other nominations seems to make strategic and political sense judging from the Academy's past history but all this nomination seems to say is "we gotta get Williams in there". There have been years when I felt that a Williams nomination was forced but this time it seems oh-so transparent.

[Message edited by HAL 2000 on 02-13-2001]

Sorry, I'm trying to start an "I Strongly Disagree With Zimmer's Gladiator Score" flame war in every thread.

quote:

---

Originally posted by Shaun Rutherford:
[B]While I agree to a point that The Patriot is a slightly pedestrian score at times, the themes are strong. And they belong to Williams.

---

Remember:

I happen to think that a somewhat derivative Williams score is much more of a travesty than a very derivative Zimmer score.

it's not Williams fault that he gets nominated all the time. He is good and he is very well liked and for some reason they see in him a link between Hollywood and the classical arena.(At least that is what I gather).

I still think The Patriot is an awesome score. The orchestrations and emotions it invokes are just awesome. I like it much more thatn seven years in tebet.

Anyways, that's what I think...(I think).

Scott

quote:

---

Originally posted by HAL 2000:
like Basil Poledouris who has not received a SINGLE nomination?

---

Is that true!?

Patriot is nice, but that's it - nothing special.

Williams is a true gift to the world and all of his nominations are well-deserved. Best of luck to all the nominees!

Aaron

Williams is their darling. So what? So used to be Alfred Newman. I'd take THE PATRIOT over a lot of scores that came out last year, but his nomination DOES seem to me to be kind of a reflex action on the part of the nominators.

I knew THE CELL wouldn't be nominated, but it's a shame. It's still the best new score I heard last year (STILL haven't gotten to Aventura to see CROUCHING TIGER.)

The winner will be Tan Dun, unless GLADIATOR somehow sweeps (it's looking depressingly likely, but then, score winners are often profoundly out of joint with everything ELSE that wins.)

But to get on topic, I feel THE PATRIOT is a fine score and I think its nomination isn't the egregious travesty some are making it out to be.

But GLADIATOR have to win because it was financed by George Bush Junior and his clan and he is the president now.

quote:

---

Originally posted by Aaron Collins:
I remember when I was in LA and Scott was taking me to the airport. I heard that opening theme of The Patriot a million times! The tape kept playing that exact theme over and over. But, did I ever grow old of it? Nope.

---

Hhahahah...Aaron I just thought about that while listening to the tape just about two days ago. What an awesome time we all had...and all thanks to Williams.

Scott

Who owns the world my friend, please do tell us?

But GLADIATOR have to win because it was financed by George Bush Junior and his clan and he is the president now.

You are as truthfull as the Enquirer on a Sunday afternoon.

"Bring back the glory of Rome - and no more blowjobs in the White House, please.

But I thought that kind of White House was just up your isle

Scotty

quote:

---

Originally posted by Scott:
But I thought that kind of White House was just up your isle

---

Sorry, but I am married already.

Try other. Lancelot perhaps. He is virgin, for sure.

quote:

---

Originally posted by André Lux:
Sorry, but I am married already.

Try other. Lancelot perhaps. He is virgin, for sure.

---

Andre, Andre, your mind is always in the gutter....

quote:

---

Originally posted by Scott:
Andre, Andre, your mind is always in the gutter....

---

Yeah. Thanks Scott!

quote:

---

happen to think that a somewhat derivative Williams score is much more of a travesty than a very derivative Zimmer score

---

why is that?

I can't say this for sure, but it seems to me Williams may get derivative at times just for the hell of it. I have a John Williams and Gene Shallit interview on CDR that goes something like this:

quote:

---

Shallit: what do you say when people view your work as inferior to concert music?

Williams: yes, yes...and thereby reaching BILLIONS of people in the meantime.

---

With someone like Hans Zimmer, who is no doubt talented, I get the distinct feeling that he is not as aware and knowledgeable of the musical past and traditions of Hollywood, and thus the need for his musical reaching in Gladiator, which references the styles Wagner, Holst, and Gorecki.

or I could be full of dog doo.

What I meant by my statement, was that everyone has such high expectations for Williams' work. I can't speak for everyone, but I think most would agree with me. After producing one masterpiece of a film score after another, you start to have extremely high expectations for his work. So, it's all the more disappointing when he doesn't meet those expectations. I had high hopes for The Patriot. Even though I found The Patriot a disappointment, I still have extremely high hopes for A.I. Williams may hardly ever break from conventionality, but he's hardly ever truly derivative- not like other A-List composers and certainly not like Horner or Zimmer.

I love Zimmer's music too, but I don't expect him to wow me like Williams' does, simply because he hasn't wowed me like Williams. I'll be excited for Pearl Harbor, but I won't be nearly as disappointed if it stinks as I will be if A.I. stinks.

Star Wars, E.T., and Schindler's List, are very much a curse to Williams' career as they are a blessing. We keep expecting him to hit homeruns...

Tim

NP: Bad Girls / Goldsmith

A lot of the classical works were written in a neo-classical, neo-romantic style -- and there was quite a lot of serialism as well. It's just that concert music takes a definite structure, while film music is structured according to one person's vision (the director's, within the context of the composer's individual voice), and not necessarily the most cohesive listening experience.

the disparity between concert and film music is bigger now, but each has it's innovators.
good music is good music no matter how you slice it, and the best stuff will always last.

A lot of the classical works were written in a neo-classical, neo-romantic style -- and there was quite a lot of serialism as well. It's just that concert music takes a definite structure, while film music is structured according to one person's vision (the director's, within the context of the composer's individual voice), and not necessarily the most cohesive listening experience.

the disparity between concert and film music is bigger now, but each has it's innovators.
good music is good music no matter how you slice it, and the best stuff will always last.

sometimes a triple and an error is just as good as a homerun.
I just don't think everything Williams composes needs in fact to be a Schindler's List, Star Wars, etc. That is too much too expect from anyone.

for instance, James Horner always hits a bunt single with a 3-base error.

this is why I love this site so much. I have learned so much in this thread alone, I need to lay down and rest (dont' even think about it Andre, ).

Scott, Scoot, Scotty, Scootty (just make up names as you go along)

JJH,

it's on now.