Lewya

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  1. Track-by Track: Solo vs. The Last Jedi

    I only prefer The Adventures of Han from Solo over the first track from The Last Jedi, all the others tracks from the Last Jedi are superior, most often far superior too. Powell's score is mostly mediocre stuff, not a fan. The Last Jedi may be my least favourite Star Wars score by Williams, but it is still a very good score.
  2. A.I. Artificial Intelligence - John Williams One of his absolute finest scores, a contender for his best ever I say, even if Close Encounters of the Third Kind might beat it. I am also really fond of Memoirs of a Geisha. Damn, I could mention a few more contenders for his best. I was never a big fan of some of the big ones like say Harry Potter (the third one is by far the best though), Jaws (it may be a great film score, but it isn't at all the best music Williams has written), Superman etc even if it is still respectable film music. American Beauty - Thomas Newman Another top notch score and a top 5 Newman score. At its best, this is some of the best film music of all time. American Beauty is the best track from this score.
  3. Oscar and Lucinda - Thomas Newman One of his very best scores - top 10 Newman material for sure. At its best, this is some of the finest film music of all time - it is quite hard to beat a track like The Church of Glass, not too many tracks in film music history are superior. Angels in America remains the first Newman score I would recommend to anyone not familiar with Newman's work, but Oscar and Lucinda wouldn't be that far behind.
  4. Angela's Ashes - John Williams This has grown on me, it is top 30 Williams material. Back to America is one of his finest Americana tracks.
  5. You are probably right. I don't care about any Marvel score at all either. I am probably only interested if they tap a competent composer like say Goldenthal. I do think Doyle's Thor contain some of my favourite Marvel material though even if it's hardly great music. Black Panther was decent and one of the better ones yes, but still nothing I would listen to again.
  6. Powell vs. Giacchino

    Powell > Giacchino I could see Giacchino standing a chance against if he somehow did good work more often, but he isn't. Both are pretty mediocre composers though. If we take their best works, Lost and the first How to Train Your Dragon, I am not sure which one I prefer. HTTYD is more "fun", but Lost may be more interesting. I also like the best material from the first Incredibles score, some of Medal of Honor (despite it being a pastiche score like Incredibles) and the finest parts of Ratatouille. That's about it when it comes to Giaccchino. With Powell I like the first HTTYD score, Bourne when it is at its best, and a few other scores when they are at their best like say Hancock. Nothing they have done is on my playlist(s) though, so I don't really care about their music even if some of it is pretty good indeed.
  7. Dai Fujikura, a professor of composition at Royal College of Music (and a contemporary music composer Boulez supported, this guy - http://www.rcm.ac.uk/composition/professors/details/?id=02798) said that Nixon was Williams's best work: He also called Alien 3 by Goldenthal his favourite ever film score (and it is a pretty resonable pick - it would make my personal top 25, I don't have a number one): Goldenthal is his favourite film composer apparently:
  8. Curious, does anyone here know if John Adams has ever said something about John Williams? I have missed that if so. I am curious what Adams thinks about Williams, I remember that Adams was critical of Spielberg in an interview.
  9. I just found negative comment (I think): The Pulitzer prize-winning composer Mario Davidovsky said the following about Williams: "John Williams is to music history what an onion bagel is to the history of the space program."
  10. Film scores that impressed John Williams

    Oh, I do remember reading Williams's somewhat negative comments on Psycho. He said something to the extent that it was very effective but that it wasn't a great score. And he is clearly wrong, I'd rank Psycho as strong as anyting Williams has done. The quality of the string writing is hard to beat and it is just so memorable and iconic.
  11. We know for instance that he thought that The Shawshank Redemption was one of the most impressive scores of the younger generation back from an old interview he did in the late 1990s. We also know and can assume Vertigo, Spartacus and A Streetcar Named Desire counts too. Him just conducting something isn't enough though. I am curious, has he ever commented on Goldenthal for instance? I must have missed that if so.
  12. A.I. is a top 10 Williams score. Give me it any day over E.T., Jaws, Superman etc.
  13. As a bonus, I decided to do a top 10 film scores of the century so far WITHOUT the limitation of one film per composer (not that anyone cares, but let's do it anyway for fun) and it only changed three of my entries: Memoirs of a Geisha - John Williams Star Wars: Revenge of the Sith - John Williams A.I. Artificial Intelligence - John Williams Brother - Joe Hisaishi Samsara - Michael Stearns The Best Exotic Marigold Hotel - Thomas Newman Final Fantasy: The Spirits Within - Elliot Goldenthal Solaris - Cliff Martinez The Lord of the Rings: The Fellowship of the Ring - Howard Shore The Lord of the Rings: The Return of the King - Howard Shore I'd bump out Crash, Mission to Mars and Inception in favor of Memoirs of a Geisha, Star Wars: Revenge of the Sith and The Lord of the Rings: The Return of the King. I have to admit this really hurts, I really didn't want to pick between Mission to Mars, Inception and Solaris etc - it seems impossible, but today I went with Solaris. Crash, I admit was maybe the last one of my 10 original picks so that one was the easiest to bump out even if I am fond of the score. You could make a strong case for The Two Towers too I guess, but this is what I would go with today. In another day I might have felt the need the include all three LOTR scores, but today two is enough. Feel free to make two separate lists if you want if you feel so inclined to ignore the limitation of one film per composer or simply want to have fun making two lists, it would maybe be interesting to see how much the two lists differ.
  14. Yes, you can have a top 10 (limited to one film per composer), how difficult is that to understand? I totally disagree with what you write, only Williams would have multiple entries in the top 10 if we hadn't limit ourselves to one per composer (ok, Shore would have more than one entry too for me), the others simply haven't written good enough music imo. I don't see how Horner etc can have multiple entries on any list at all. This is precisely one of the reasons I limited it to one per composer, otherwise I was afraid that there would be certain fanboy tendencies shining through some lists, like say only listing three composers to take up the entire list - as if their efforts would be better than the rest, then I would argue that people simply haven't heard enough and/or aren't open-minded enough. Fine, I admit making the error of counting the entire trilogy as one entry, The Fellowship of the Ring then. Interesting list, I haven't heard The Skin I Live In and Femme Fatale. I am a pretty big fan of Sakamoto, so I will have to check it out. There Will Be Blood would make my top 25, it is in my list of honorable mentions. Road to Perdition is the second-best Newman film score from this century thus far for me (I am not counting Angels in America, because that's television, otherwise that would be his best score) - I picked The Best Exotic Marigold Hotel over Road to Perdition. As with Jóhannsson, I prefer The Miners' Hymns over Arrival (and Sicario), but Arrival is a nice pick.
  15. Listening to The Revenant and Star Wars: The Force Awakens - two of the best scores of 2015. I easily prefer TFA and would have given it the Oscar that year, but The Revenant has some superb heights and I agree that it should have been nominated. I would have bumped out Burwell's Carol.