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The Chairman might be my favorite… if only we could hear the whole score as Jerry wrote it!
Yavar
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The Boys from Brazil edges out The Omen for me.
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It's unlikely that Peck had much to do with hiring Goldsmith. He wasn't involved as a producer on any of these productions (unlike, say, THE BIG COUNTRY). The story how Goldsmith came to the OMEN after Donner heard his music and asked for (and got) an increased music budget to hire Goldsmith is well known, BOYS FROM BRAZIL was a Franklin J. Shaffner movie, who already had a good working relationship with Goldsmith, and MACARTHUR was basically a "sequel" to PATTON (it was the same producer, Frank McCarthy, and PATTON was a passion project of his, and when that movie became a huge commercial and critical hit, he thought following it up with a movie about MACARTHUR wasn't a bad idea). Allegedly, Peck thought the production (MACARTHUR) wasn't what it could have been and was neither happy with the sets nor the script. (At least he didn't complain about the music score. :-) )
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I don't have a favorite out of these... I have to admit I like them all very much, both as stand alone scores and as music in the films, all of which I've seen.
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Back in the day stars like Peck, Heston, Connery etc sported filmographies bursting with memorable scores.
In Peck's case SPELLBOUND, THE BIG COUNTRY, THE GUNS OF NAVARONE, CAPE FEAR, TO KILL A MOCKINGBIRD, the Goldsmith scores, etc.
Today ... well, what are the great Brad Pitt scores?
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Back in the day stars like Peck, Heston, Connery etc sported filmographies bursting with memorable scores.
In Peck's case SPELLBOUND, THE BIG COUNTRY, THE GUNS OF NAVARONE, CAPE FEAR, TO KILL A MOCKINGBIRD, the Goldsmith scores, etc.
Today ... well, what are the great Brad Pitt scores?
LEGENDS OF THE FALL
SE7EN
MEET JOE BLACK
INTERVIEW WITH THE VAMPIRE
7 YEARS IN TIBET
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