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JWFAN Members Top 10 John Williams scores lists


JoeinAR

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1) Hook

2) Empire Strikes Back

3) A.I.: Artificial Intelligence

4) Indiana Jones and the Last Crusade

5) Angela's Ashes

6) Return of the Jedi

7) E.T.

8) Jaws

9) Close Encounters of the 3rd Kind

10) Born on the Fourth of July

That was hard. I'm not a big fan of lists like this, honestly. But I did it anyway so there ya go.

EDIT: Revised my list a little bit.

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more lists please, there are many strong members who haven't posted.

Bloodboil has several posts here but no list, please fix that.

all members old and new please post, or maybe represent is a better word.

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I never said it wasn't it. It's obviously all a matter of personal taste.

Can you really be surprised at KM's leitmotif-heavy score-heavy list, when he basically dismisses all of Williams' pre-Jaws and 1960s work?

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more lists please, there are many strong members who haven't posted.

Bloodboil has several posts here but no list, please fix that.

all members old and new please post, or maybe represent is a better word.

What's the rule on changing your list? Can you do it? How many times?

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more lists please, there are many strong members who haven't posted.

Bloodboil has several posts here but no list, please fix that.

all members old and new please post, or maybe represent is a better word.

What's the rule on changing your list? Can you do it? How many times?

I'm going to start compiling lists after January 20, 2013, and release the results just before the Maestros 81st birthday.

Everyone here can feel free to alter their original lists. I wanted to wait until the 10th anniversary of our first list and to allow people to famiiarize themselves with Lincoln, give it a chance to make its mark.

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Mine is a rather conservative list:

1) Schindler's List

2) Empire Strikes Back

3) Return of the Jedi

4) Star Wars (A New Hope)

5) Hook

6) The Last Crusade

7) Revenge of the Sith

8) Raiders of the Lost Ark

9) Superman

10) Prisoner of Azkaban

I strongly hope I'll have to change this list once Lincoln is released!

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Thanks BB! Sometimes I admit I get tired of the Gustavo Santaolalla Fan Network and I come lurking around here. But be careful, what if Joey notices that you are commenting on this thread while you STILL haven’t posted your top 10 list…...

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How do you'll deal with these "in no particular order" and "in casual order" lists, Joey? There are quite many of those.

I understood you need the ranking for your final counting. Are you counting those in order written or do want them to try rethink the scores in order 1 to 10?. Just curious.

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Hi all,

I'm new as an official member, but have been a lurker for a while. I've been around long enough to get an appreciation of the characters here and look forward to hopefully contribute something useful...we'll see. I guess one of the first steps is to perhaps contribute a list of favorite scores? If so, here they are, but I can't guarantee that this is any kind of static list...

-The Empire Strikes Back: probably all-time favorite of the Maestro, it seems like the stars were perfectly aligned for this score. Williams was at his peak of creative energy, to the level of Wagnerian opera almost. In fact, the new leitmotifs introduced and interpolated here, along with the rearrangement of themes from the original 1977 classic, do form a kind of high opera that combines with Kershner's excellent direction, Lucas' (then at his creative height as well) storytelling, a screenplay that made people forget this was supposed to be nothing more than an homage to Saturday morning sci-fi cartoons, and indelible images that imprinted the collective cultural mind when the movie was released. There is no wasted music to be found in any corner of the film; each note, from the moment of the trumpet fanfare to the closing shot of the medical cruiser, has its place. The highlights are too numerous to mention, but I'm willing to wager that nearly everybody remembers where they were when they heard The Imperial March for the first time.

-A.I.: Artificial Intelligence: whether a direct reference to 20th Century post-modern film scoring in parts or an attempt to merge the mechanical ostinato undertones with the vain efforts of David's attempt at becoming an organic boy, one could say that at least the score succeeded in telling that story where the movie itself may have failed. Personally, I'm a big fan of the movie as well, mainly because it strived for so much and was filled with such startling imagery that it at least demanded attention. Spielberg, as usual, inspired the best that Williams could provide and he delivered a score that was both pulse-poundingly rhythmic (e.g., The Mecha World) and heart-breakingly organic (e.g., Monica's Theme) that it remains one of my favorites and very nearly bridges some of the movie's perceived faults.

-Hook: if The Empire Strikes Back was the ultimate space opera, then this one was the ultimate fantasy musical, and it fortunately featured a score that nearly painted over the flaws clearly inherent in both the storyline and the script itself. While one could consider the film itself to be ambitious, it nearly fell all over itself on the way to its own introduction and didn't really recover after that. Though there are moments of brilliance in the film (the final swordfight, the interplay between Peter, his wife, and Granny Wendy), some scenery chewing by the unrecognizable Dustin Hoffman, beautiful storybook sets filmed with a kind of gauzy mist of childhood memory, the narrative is mostly a bloated pastiche, wandering from setpiece to setpiece in search of coherence. The score, however, is a modern Peter and the Wolf, showing its roots in the original ideas related to the film itself (the kernal of which was to create a musical, which had always been a desire of Spielberg's). While not as much of a debacle as 1941, the film could hardly be called a smashing success, but the score deserves to be remembered as one of Williams' best works.

-Return of the Jedi: originally I tried to stay away from selecting two films from one film series for which the Maestro had composed, but the pull was just too great to ignore this one. While purists might question why the original was not mentioned, those themes are well-represented in the sequel scores and more thoroughly-explored to boot. The third film in the series (or is it the sixth?) features so many new themes and ideas (e.g., Luke and Leia, Parade of the Ewoks, Jabba's Palace, etc.) that, even standing alone it would present a daunting challenge to any other composers' pallette. On top of that, it almost outdoes its predecessor in the action music it presents, marking some of Williams' greatest work and makes one wistful that the more modern and chaotic-sounding action music he currently employs were as thematic as this, to the degree that it can almost be translated effortlessly into suites (Sail Barge Rescue, Forest Battle, Infrastructure Chase, etc.). As operatic as Empire was, this one was just plain fun.

-E.T. : The Extra-Terrestrial: it's been said that this is probably Spielberg's most personal film, and to some degree it may be Williams' most personal score (even though he's said to favor Close Encounters of the Third Kind). The score conveys the relationships between the characters perfectly, from the villainous early "Keys" theme (repeated later whenever government officials appear, usually anonymously) to the multiple variations of E.T. and Elliot (most memorably on harp, as I recall, when E.T. spies Elliot's mother and sister reading at the house), to the soaring Flying theme, and, finally, the triumphant fanfare at the end. Being chock-full of highlights in-between (including a wink-and-nod reference to Yoda's Theme in E.T.'s Halloween), the score is an incredible mixture of childhood innocence, alien curiosity, and ultimately the triumph of pure belief in a world of doubt.

-Indiana Jones and the Temple of Doom: trying desparately to keep to the self-imposed rule of not having more than one selection from the same film series, the Temple of Doom score will be the representative of the Indiana Jones trilogy. Admittedly, one of the reasons behind it is because it is simply the one that, like the film itself, teeters on the edge of complete abandon and physical exhaustrion, but also because of the mystique of the score itself, having been so inadequeately represented on the original Polydor release at the time of the film's 1985 debut. Intense from beginning to end (even in the humorous parts like Escape from Club Obi Wan and Nocturnal Activities), the roller coaster (literally, in the case of Mine Car Chase) never stops in this wall-to-wall scoring extravaganza. While intentionally dialing down the Raiders March (as was even further diminished in The Last Crusade), Williams allows for powerful new themes that, much like Return of the Jedi, could stand entirely on their own as far beyond the reach of other composers. Each track, it seems, is a gem of its own, and this is one of the unique scores in which I always discover more details every time I hear it, perhaps because the bulk of the score was not truly released until recently. The music at the end of the film specifically was a treat to hear on the Concorde Records release, and still represents a treasure of new music to be discovered. Another excellent score at a range of time where the Maestro was at a peak of his powers!

-Harry Potter and the Prisoner of Azkaban: representing the Harry Potter trilogy of films scored by Williams, I decided that this one offers the most unique take on the Harry Potter series, but certainly the most intriguing. I embrace it for its originality as well as its brave departure from the approach taken on the first two films, which I also believe are classics unto themselves (and, frankly, are more likely to score higher amongst more casual fans of the series). Williams, not too much known for taking risks, ventured into interesting territory in this score, prompted, I would guess, by director Alfonso Cuaron, whose lone entry into the series was equally as unique. The Maestro's use of Medieval era instruments to convey a more authentic British feel to certain parts of the film was part experimental, part whimsy, but entirely consistent with the set design and other aspects of the film However, it is not just the diversity of the instruments but the diversity of the score itself that recommends it. While perhaps not as hummable as the classic themes of the Chris Columbus entries, the score offers brilliant contract between Aunt Marge's Waltz, The Knight Bus, Quidditch Year Three, Buckbeak's Flight, and practically every other track on the album (including the delightful Whomping Willow and The Snowball Fight). One wonders what other tricks may have infiltrated later Potter scores had Williams had stayed with the franchise (at the behest of later directors, perhaps?).

-Home Alone: it is to Williams's great credit that he created a score that is now essentially identified with Christmas in so many minds around the world, thanks to the wild success of Chris Columbu' holiday romp. While the commercial success of the film itself took many by surprise, perhaps even more so was the memorable imprints that the two central themes that Williams contributed, which now are truly part of the holiday lexicon. As such, that automatically ranks high as a cultural factor and gives it high consideration on this list. Somewhere In My Memory and Star of Bethleham contain the hymnal quality that I must only dare play during the Holy Season so as not to wear out their own unique place in my mind. Not only does the beauty and simplicity of those pieces ring true for so many, but the action-related pieces (Preparing the Traps, Man of the House, etc.), and the themes for Kevin and the Thieves (a truly bumbling bass delight) combine to make it into my top ten as a great and humble gift to all of us at Christmas, when we can use it most.

-Superman: I can't imagine the type of pressure visited upon Maestro Williams when he received this assignment from Warner and Richard Donner, but it was probably similar to the burden Donner himself felt when realizing the pedigree that had been entrusted to him for producing and directing this film. Rarely, however, are expectations exceeded to the degree that both were able to do here, when both were arguably at the zenith of their creativity. How does one redefine an American icon and end up doing so in such a spectacular fashion? Williams created a score that resonated with heroic fanfare (Opening Credits), majestic simplicity (The Planet Krypton, Fortress of Solitude), wistful Americana (Growing Up, Leaving Home), lush themes (Can You Read My Mind?), and action music (Lois' Rescue, Superfeats, etc.) that the entirety of the score can only be described as larger-than life, like the character so perfectly inhabiited by the late Christopher Reeve.

-Jaws 2: okay, so I had to choose one that would be a kind of guilty pleasure. While it was tempting to select one of the somber Oscar winning, and deserving movie scores for which the Maestro is known so well (I'm thinking Schindler's List or the original Jaws, perhaps), the jaunty score to the otherwise forgettable first sequel to the Peter Benchley classic is the one score on this list that contains the most obvious gap in quality between the score itself and the film it accompanies. Nonetheless, it is such an infectious score, and functions, at least in my mind anyway, as a stand-alone masterpiece nearly dedicated to the sea, that the only drawback I can think of is that it is a true shame that it has not seen a higher-quality release (currently a 45-minute release from Varese Sarabande only). From The Catamaran Race to the End Cast and End Titles to The Menu (a shanty that unbelievably surpasses the original Jaws' Promenade), it is a minor masterpiece that takes the track that so many of Jerry Goldsmith's best works did: it showed that true craftsmen are dedicated to the task of creating their best art regardless of circumstance or quality of what the score is to be joined to. A true class act!

AIFan

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could we please have a few more list and a whole lot less aimless posting?

Hornist, if people don't have the capacity to give me a top 10 list in order then I take the order they are given. So whatever is listed first is #1.

How hard is it to give a list of 10 films that are expected to be given weight and say they are in no particular order. My initial post is very clear. The top film, which would be the first film listed will be given a score of 10, the second film listed, will get 9.

yes thanks AIFAN for your excellent listing.

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On BBC Radio 4 just now , in a discussion about music and how it imprints on our minds, one of the interviewees referenced the music for Jaws and CE3K which was nice to hear.

JC

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1 INDIANA JONES AND THE LAST CRUSADE

2 JURASSIC PARK

3 THE PHANTOM MENACE

4 REVENGE OF THE SITH

5 INDIANA JONES AND THE TEMPLE OF DOOM

6 RETURN OF THE JEDI

7 HARRY POTTER PRISONER OF AZKABAN

8 THE EMPIRE STRIKES BACK

9 FAR AND AWAY

10 RAIDERS OF THE LOST ARK

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Hey agan,

In the interest of responding to Joey's request, here is the (current) ranking of the scores I provided earlier (with #1 being the highest rank):

10. Jaws 2

9. Home Alone

8. E.T.: The Extra-Terrestrial

7. Superman

6. Indiana Jones and the Temple of Doom

5. Harry Potter and the Prisoner of Azkaban

4. A.I.: Artificial Intelligence

3. Return of the Jedi

2. Hook

1. The Empire Strikes Back

There you go!

AIFan

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I'm excited to see all this data compiled together.... to be extra nerdy I created a top 5 per decade lists.

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Hey agan,

In the interest of responding to Joey's request, here is the (current) ranking of the scores I provided earlier (with #1 being the highest rank):

10. Jaws 2

9. Home Alone

8. E.T.: The Extra-Terrestrial

7. Superman

6. Indiana Jones and the Temple of Doom

5. Harry Potter and the Prisoner of Azkaban

4. A.I.: Artificial Intelligence

3. Return of the Jedi

2. Hook

1. The Empire Strikes Back

There you go!

AIFan

I think you're a dickhead for posting this.

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So far there are 44 lists.

Thanks for everyone who has given a list. Just a cursory glance at the list reveals a wide range of tastes. Excellent

There are several prominent members who've posted comments in the thread but have failed to provide a list.

There is plenty of time until January but my goal is to surpass the 129 responses I had last time and I'm not even close to the half way mark.

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There is plenty of time until January but my goal is to surpass the 129 responses I had last time and I'm not even close to the half way mark.

Sadly it would appear that a once thriving fan base is now in marked decline. You really should have gone with Michael Giacchino this go around.

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There is plenty of time until January but my goal is to surpass the 129 responses I had last time and I'm not even close to the half way mark.

Sadly it would appear that a once thriving fan base is now in marked decline. You really should have gone with Michael Giacchino this go around.

who?
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Perhaps what we have here is a more sophisticated fan base than we had ten years ago. Today's JWFANs know that music appreciation is a subtle, complex enterprise that doesn't lend itself to neat categories and arbitrary ratings.

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Or everyone is just procrastinating. If, in the end, there isn't much further movement on this project, though, I'd be genuinely curious about why there's such a stark disparity between 2002 and 2012.

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Well, I think it's rather obvious: the maestro's fandom is in decline. Williams was still surfing the wave of the prequels then (even as the fans began to sense the creeping death of the movies themselves), he was still at the forefront of scoring and a book by the name of Potter was doing the rounds. Times have changed and the fans have too.

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But the increase in post frequency could offset the decrease in regular members and those who join but don't stay by technology. Ten years ago, people were mostly limited to posting by computer at work or school or home. Now smartphones allow a small number to post all day.

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