The greatest of all time
- Thread starter Chi
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KEM
The TENET Guy
Hans Zimmer is definitely the GOAT but right now Ludwig Göransson is king, and I have no doubt he’ll dethrone Hans to take that true GOAT spot one day
For me John Williams is only in the question because of his icon status but he’s very one dimensional and can only really do one thing, and yeah, he does that one thing better than everyone else, but I value versatility and John Williams doesn’t have any of that
So that’s my answer, Hans Zimmer is the GOAT but Ludwig Göransson owns the industry right now and one day he’ll be the GOAT and Hans will be second
For me John Williams is only in the question because of his icon status but he’s very one dimensional and can only really do one thing, and yeah, he does that one thing better than everyone else, but I value versatility and John Williams doesn’t have any of that
So that’s my answer, Hans Zimmer is the GOAT but Ludwig Göransson owns the industry right now and one day he’ll be the GOAT and Hans will be second
Pier
Senior Member
Also Munich. Without knowing who scored it I would have never guessed it was JW.
Pier
Senior Member
Johan Johansson is amazing. His protegé, Hildur Guðnadóttir, is also doing great things.
Autocarrot hates meYou mean Alexandre Desplat? Why would you not tolerate him? Or is that a joke I missed?
(yes I miss jokes sometimes)
Robin Thompson
Active Member
Of course.
Not sure what you mean. A percussion-oriented cue like this or this? Or like a rock groove? Or did you mean a military drumline?
I'll assume you mean that knock-off muppet nonsense from the Special Edition, which Williams did NOT write. Because if you're talking smack about Lapti Nek I'll have your head. That song slaps.
Only if MG had a time machine to get a copy of the score to Williams before he wrote Saving Private Ryan or JFK or Born on the Fourth of July etc., etc. Not to mention a few more copies for Horner and Goldsmith and everyone else who had a hand in establishing the patriotic war movie sound.
(To be clear, MOH is a great score, but, like the rest of the game, it was very deliberately calibrated to evoke the feel of Private Ryan and similar films - in fact I believe development of the game was kickstarted by Spielberg himself. It's very pretty, but not original. I think MG's own voice begins to show itself a bit more starting with Call of Duty.)
) 
Ned Bouhalassa
Senior Member
Steiner, Herrmann, Goldsmith, Williams.
HM: Vangelis, Elfman, Powell, Zimmer
HM: Vangelis, Elfman, Powell, Zimmer
Colin66
Active Member
Difficult to say who the GOAT is but Lalo Schifrin has to get a mention. He could do it all. Bullitt, Mission Impossible, Dirty Harry and a whole lot more.
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en.wikipedia.org
Lalo Schifrin - Wikipedia
Pier
Senior Member
I'd say probably Bernard Hermann or John Williams. I'm fairly certain their music will still be relevant 100 years from now.
It's difficult to say about our contemporaries like Hans Zimmer etc. We are in a cultural bubble after all and it's difficult to say what will transcend.
It's difficult to say about our contemporaries like Hans Zimmer etc. We are in a cultural bubble after all and it's difficult to say what will transcend.
Pop Corn
Active Member
It feels like anything post 2000, maybe 2010, is temporary, and absent of longevity and legacy. Like a tasty meal that will be forgotten tomorrow. Whereas the classic film/TV/Music prior to 2010 feel more like fond memories of a great family restaurant that produced many excellent meals and memories before closing down.
I'm fully convinced that if the most influential and coveted musicians and artists were starting out today, their music and art wouldn't make it out of their bedroom.
It felt as if music and art was a real part of life growing up (and I'm not even that old), but particularly in the last decade, it's become background fodder for the average person. I see it with my own family. My father has an excellent 5.1 system, yet, listens over a tiny Bluetooth speaker 99% of the time. My mother will have her playlist playing through her iPhone speaker while she does her makeup. I just hate seeing all those juicy bass frequencies abandoned for the sake of convenience.
On the flip side, you have people who are OBSESSED with audio and have adopted things like Atmos and completely immerse themselves in the full sonic spectrum. Far from convenient though. Wouldn't it be great if Atmos equipped listening rooms began popping up everywhere? Like a cinema for music. Go in and spend an hour listening to your favourite music/a new album in the dark or with some sort of visual show.
Most everything feels like a cheap trill these days. It's getting even worse when you have things like TikTok and YouTube Shorts that reward tiny tiny clips of music/film. No time to tell a story. No substance. People don't even know the name of the artist they listen to anymore. They just put a playlist on in the background. They probably know it as "Oh, that's the song from that 'Chillout Vol 1' Spotify playlist" (This is speculation though
)That's why I try to make time for people who want to share their music with us here and other forums. We know what goes into it. The learning curve, the 'soul', the time spent.
KEM
The TENET Guy
I’ve listened to all the big ones and they all sounded exactly the same
Let me know what some “out there” ones from him are and I’ll give them a listen, especially ones with synths or guitars
He's got a very distinct style, if that's what you're getting at. He's probably not the best fit for every type of movie. But you can't tell me Schindler's List sounds exactly the same as Harry Potter, War of the Worlds, Jurassic Park, Witches of Eastwick, Jaws, The Terminal etc, etc. His canvas is the orchestra, which he's able to bend at his will to fit picture better than most if not all living composers (without all those fancy Kontakt libs), and I'll bet Ludwig and Hans are big fans.
