Yes, they both weren't averse to writing amazing music for absolute dreck. John Williams must have had a pact with the Devil, the way he could swerve and switch films that he initially signed on for - The Swarm and Meteor - to go off and score box off gold, while Goldsmith and Rosenthal picked up the slack, and he cemented his place in film music history.
Well during the 60s it was Williams scoring three (mostly) dreck while Goldsmith and Rosenthal got a good share of prestige projects.