Jump to content

What is John Williams' 'BIGGEST' score?


Sandor

Recommended Posts

In the sense that Rosza's Ben Hur, Debney's Cutthroat Island or Horner's Willow are 'BIG' scores and Williams' Stanley And Iris or Horner's The Spitfire Grill are 'small' scores, what is Williams' BIGGEST score..? In terms of length/orchestra-choir size/thematic material/'epicness'/... The combination of those elements.

Link to comment
Share on other sites

  • Replies 63
  • Created
  • Last Reply

Top Posters In This Topic

I thought on Empire instantly after I read the title of the thread.

Yeah I thought exactly the same. Even though it might not play with as large number of themes as ROTJ, TESB somehow conjures up a grander feel for me. Everything just feels like it falls into place to form a dramatic, exciting and BIG film score experience.

Link to comment
Share on other sites

The whole third act of Empire is grand. And yet there is nothing on screen that seems to call for this kind of operatic grandeur

Karol

I have a feeling that the fiery artist in good ol' Johnny was scoring the archetypes and the primal feelings underlying in the saga more than mundane Mark Hamill or Harrison Ford or Carrie Fisher in this one.

Link to comment
Share on other sites

It's an epic masterpiece, but I'm tired with it. By contrast I can still listen to and thoroughly enjoy the less accomplished Superman score.

After an epic first half Supes settles doen just a little bit. The score is les of a tax on the senses because of it.

Link to comment
Share on other sites

I'm happy to say that while I'm familiar with the first half of ESB, I can't barely remember the second half right now.

whaaa?

Yoda lifting the x-wing, the cloud city cues like Carbon Freeze , the duel, escape from cloud city and hyperspace

That's Williams at his most epic

Link to comment
Share on other sites

I'm happy to say that while I'm familiar with the first half of ESB, I can't barely remember the second half right now.

whaaa?

Yoda lifting the x-wing, the cloud city cues like Carbon Freeze , the duel, escape from cloud city and hyperspace

That's Williams at his most epic

It's not because I don't like it, it's because it's been a while and I used to listen mostly to the first half and Star Wars. Plus I refuse to listen to it now as I don't have proper earphones. One of these days I'll listen to it and be probably mindblown.

This doesn't happen to me only with this one score, there are many classics that people here seem to know by heart and be tired of them, while I wouldn't be able to hum half of them.

Link to comment
Share on other sites

It's an epic masterpiece, but I'm tired with it. By contrast I can still listen to and thoroughly enjoy the less accomplished Superman score.

After an epic first half Supes settles doen just a little bit. The score is les of a tax on the senses because of it.

The fact that much of Superman's second half underscore has its tongue in its cheek helps. Nowadays Empire feels a bit on the stodgy side.

Link to comment
Share on other sites

I actually think ROTJ feels bigger than ESB. The orchestrations sound more massive, the number of themes employed is larger, it uses choir, it has a larger number of climaxes

Link to comment
Share on other sites

I think ROTJ should certainly sound massive, but it doesn't to me. Even The Dark Side Beckons and The Emperor's Death, which given their thematic significance should certainly be massive, don't feel it to me. The only real cue that feels like it is the Emperor's Arrival. Whereas ESB is chock-full; The Battle in the Snow, The Asteroid Field, The Duel, Hyperspace (this one in particular always sounds MASSIVE). Even the quieter cues like where Darth and the Emperor communicate or where Lobot ambushes the stormtroopers, it has real scale to it, it feels like there are life-changing decisions being made. Maybe it's because ROTJ the film doesn't have much of the emotional weight ESB has to it, I'm not sure. Just how it feels to me.

Link to comment
Share on other sites

Hook and parts of Jurassic Park come to mind. ESB sounds big compositionally, but the sound quality on the SE release limits its sonic scope a bit. I'd also say that the big horn statements of Hedwig's theme in SS and COS are pretty freakin' big, in a very good way. Oh, and the action cues that bookend E.T., obviously.

I suppose one of the nice things about Williams' work is that none of his scores are just relentlessly big, the way CutThroat Island is, for example. You need those more intimate moments to give you time to catch your breath. All of the above scores have plenty of that.

Link to comment
Share on other sites

Hook and parts of Jurassic Park come to mind. ESB sounds big compositionally, but the sound quality on the SE release limits its sonic scope a bit. I'd also say that the big horn statements of Hedwig's theme in SS and COS are pretty freakin' big, in a very good way. Oh, and the action cues that bookend E.T., obviously.

I suppose one of the nice things about Williams' work is that none of his scores are just relentlessly big, the way CutThroat Island is, for example. You need those more intimate moments to give you time to catch your breath. All of the above scores have plenty of that.

I agree with everything said here :)

Link to comment
Share on other sites

I think ROTJ should certainly sound massive, but it doesn't to me. Even The Dark Side Beckons and The Emperor's Death, which given their thematic significance should certainly be massive, don't feel it to me. The only real cue that feels like it is the Emperor's Arrival. Whereas ESB is chock-full; The Battle in the Snow, The Asteroid Field, The Duel, Hyperspace (this one in particular always sounds MASSIVE). Even the quieter cues like where Darth and the Emperor communicate or where Lobot ambushes the stormtroopers, it has real scale to it, it feels like there are life-changing decisions being made. Maybe it's because ROTJ the film doesn't have much of the emotional weight ESB has to it, I'm not sure. Just how it feels to me.

Perhaps its the muffled sound quality?

Link to comment
Share on other sites

I think ROTJ should certainly sound massive, but it doesn't to me. Even The Dark Side Beckons and The Emperor's Death, which given their thematic significance should certainly be massive, don't feel it to me.

Really disagree agree. Think you're mistaking a more intimate character with a lack of scale. Those two cues you mention sound incredibly powerful (Gothic even) in their sheer weight. I think the "climbing" species counterpoint of the strings, synthesiser wails, and male choir at the point of most agony, just before the Darth picks up the Emperor - is a fine example. It truly feels like the most dramatic moment in all six films.

AfrikaansAlbanianArabicArmenianAzerbaijaniBasqueBelarusianBulgarianCatalanChinese (Simplified)Chinese (Traditional)CroatianCzechDanishDetect languageDutchEnglishEstonianFilipinoFinnishFrenchGalicianGeorgianGermanGreekHaitian CreoleHebrewHindiHungarianIcelandicIndonesianIrishItalianJapaneseKoreanLatinLatvianLithuanianMacedonianMalayMalteseNorwegianPersianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwahiliSwedishThaiTurkishUkrainianUrduVietnameseWelshYiddishAfrikaansAlbanianArabicArmenianAzerbaijaniBasqueBelarusianBulgarianCatalanChinese (Simplified)Chinese (Traditional)CroatianCzechDanishDutchEnglishEstonianFilipinoFinnishFrenchGalicianGeorgianGermanGreekHaitian CreoleHebrewHindiHungarianIcelandicIndonesianIrishItalianJapaneseKoreanLatinLatvianLithuanianMacedonianMalayMalteseNorwegianPersianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwahiliSwedishThaiTurkishUkrainianUrduVietnameseWelshYiddish

Detect language » Hungarian

Link to comment
Share on other sites

Publicist..what is this language thing?

Yeah, it's very weird.

One of the reasons why I think ROTJ sounds than the ESTB or ANH, is that its got a far more powerful low end. Just listen to the bass in Shuttle Tyderium Approaches Endor for instance.

AfrikaansAlbanianArabicArmenianAzerbaijaniBasqueBelarusianBulgarianCatalanChinese (Simplified)Chinese (Traditional)CroatianCzechDanishDetect languageDutchEnglishEstonianFilipinoFinnishFrenchGalicianGeorgianGermanGreekHaitian CreoleHebrewHindiHungarianIcelandicIndonesianIrishItalianJapaneseKoreanLatinLatvianLithuanianMacedonianMalayMalteseNorwegianPersianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwahiliSwedishThaiTurkishUkrainianUrduVietnameseWelshYiddishAfrikaansAlbanianArabicArmenianAzerbaijaniBasqueBelarusianBulgarianCatalanChinese (Simplified)Chinese (Traditional)CroatianCzechDanishDutchEnglishEstonianFilipinoFinnishFrenchGalicianGeorgianGermanGreekHaitian CreoleHebrewHindiHungarianIcelandicIndonesianIrishItalianJapaneseKoreanLatinLatvianLithuanianMacedonianMalayMalteseNorwegianPersianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwahiliSwedishThaiTurkishUkrainianUrduVietnameseWelshYiddish

Detect language » Hungarian

Link to comment
Share on other sites

The heavy leitmotiv quality of the Star Wars scores goes a long way to create a massive sound. The scores, especially TESB, are filled with so many location and character themes, and the way Williams writes, making full use of the orchestra, it's amazing how grandiose it is.

Superman is also big. For a march, the beginning is incredibly big. Along with "The Planet Krypton" (one of the best themes he's written) right at the beginning helps too. It just grows and grows until it becomes unabashedly triumphant. The Family/Smallville theme has it's big moments as well. Along with the magnificent and excessively extravagant love theme, and the incorporation of the Superman theme throughout, this is a contender for his biggest score. The only real thing that doesn't live up to the rest of the score is the villain's theme.

Link to comment
Share on other sites

Superman is also big. For a march, the beginning is incredibly big. Along with "The Planet Krypton" (one of the best themes he's written) right at the beginning helps too. It just grows and grows until it becomes unabashedly triumphant. The Family/Smallville theme has it's big moments as well. Along with the magnificent and excessively extravagant love theme, and the incorporation of the Superman theme throughout, this is a contender for his biggest score.

And of course the incredible music of The Fortress Of Solitude with it's intricate choral passages. Superman is indeed one of the biggest scores in Williams' discography.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.