Anybody wanna change and recast their votes?
How does John Williams's "The Adventures of Tintin" fare compared to his recent blockbuster scores?
Started by Josh500, Nov 01 2011 06:41 PM
150 replies to this topic
#121
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Posted 13 November 2011 - 11:27 AM
So we've had the album for a while now...
Anybody wanna change and recast their votes?
Anybody wanna change and recast their votes?
#122
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Posted 14 November 2011 - 12:35 PM
Can I change my vote?
#123
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Posted 14 November 2011 - 01:41 PM
Have you even seen the movie yet?
#124
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Posted 14 November 2011 - 02:02 PM
i heard it
#125
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Posted 14 November 2011 - 03:26 PM
What is your opinion now?
#126
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Posted 14 November 2011 - 09:13 PM
you can read it in other threads
#127
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Posted 19 April 2012 - 08:23 AM
Hmmm, sorry for bringing this back, but...
According to these polls, Tintin is quite highly regarded here. Only TPM, PS, PoA, AI, and RotS is more popular than Tintin.
But many people seem to have changed their minds about the Tintin score... anybody wanna change their votes?
According to these polls, Tintin is quite highly regarded here. Only TPM, PS, PoA, AI, and RotS is more popular than Tintin.
But many people seem to have changed their minds about the Tintin score... anybody wanna change their votes?
#128
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Posted 19 April 2012 - 03:59 PM
It's better than 2 prequel scores, not as good as any Potter score, I have a fondness for KOTCS score and WotW, but I think Tin Tin is overall a better score than WotW. Minority Report can't handle Tin Tin's jock. And AI doesn't do anything for me.
OH God, Joe is posting again, someone hand me my pills!
"You're not John Conner, I saw you die, said Kyle". "I was only injured, replied John". "No, your injuries were too severe, you died. Look at you, where are your injuries? You're, you're a Terminator." "Kyle, its still me, yes my body was beyond repair, but my essence is here." He points to his head. "No John". Kyle raised his pulse rifle and aimed it at John but before he could fire, John fired first. Knocked to the ground Kyle looked up at the Terminator in the form of the man he once idolized. All hope was lost. "If you kill me how will you ever be born?" "Thats a good question Kyle, all this time we've focus on Sarah, on John, when had we known the it was you we should have targeted all along." John pointed his rifle at Kyle's face. "The resistance is finished, the battle is won. We the machines are the victors, salvation is ours." Kyle never heard the second shot.
"You're not John Conner, I saw you die, said Kyle". "I was only injured, replied John". "No, your injuries were too severe, you died. Look at you, where are your injuries? You're, you're a Terminator." "Kyle, its still me, yes my body was beyond repair, but my essence is here." He points to his head. "No John". Kyle raised his pulse rifle and aimed it at John but before he could fire, John fired first. Knocked to the ground Kyle looked up at the Terminator in the form of the man he once idolized. All hope was lost. "If you kill me how will you ever be born?" "Thats a good question Kyle, all this time we've focus on Sarah, on John, when had we known the it was you we should have targeted all along." John pointed his rifle at Kyle's face. "The resistance is finished, the battle is won. We the machines are the victors, salvation is ours." Kyle never heard the second shot.
#129
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Posted 19 April 2012 - 04:12 PM
WotW is probably one of my least favorite post-SL JW scores!
I wonder why many people like it so much . . . it's by far the most dissonant score of JW's later career (much more so than MR)!
I wonder why many people like it so much . . . it's by far the most dissonant score of JW's later career (much more so than MR)!
#130
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Posted 19 April 2012 - 07:04 PM
I wonder why many people like it so much . . . it's by far the most dissonant score of JW's later career (much more so than MR)!
In my case, you're answering yourself there...
Izena duen guztia omen da.
#131
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Posted 19 April 2012 - 10:36 PM
I don't need to change my vote.
i still like Tintin more than any of the scores challenging it, except Prisoner Of Azkaban.
i still like Tintin more than any of the scores challenging it, except Prisoner Of Azkaban.
"You think they wear those tight-fitting clothes just so some other bride can say 'Gee your hips look succulent'? The good-looking ones know we're looking, they love us to be looking, and god bless 'em, they're carrying the rest of their sex!" - Al Bundy
#132
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Posted 20 April 2012 - 02:26 AM
It's a very unique score, at least for JW. It gets major points for originality and approach.WotW is probably one of my least favorite post-SL JW scores!
I wonder why many people like it so much . . . it's by far the most dissonant score of JW's later career (much more so than MR)!
Recently Purchased CDs:
1. Nightwatch/Killer By Night - Johnny Williams and Quincy Jones 2. Diamond Head/Gone with the Wave - Johnny Williams/Lalo Schifrin 3. Mass - Leonard Bernstein 4. Bernstein with the New York Philharmonic - Leonard Bernstein
1. Nightwatch/Killer By Night - Johnny Williams and Quincy Jones 2. Diamond Head/Gone with the Wave - Johnny Williams/Lalo Schifrin 3. Mass - Leonard Bernstein 4. Bernstein with the New York Philharmonic - Leonard Bernstein
#133
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Posted 20 April 2012 - 04:10 AM
It's a very unique score, at least for JW. It gets major points for originality and approach.
WotW is probably one of my least favorite post-SL JW scores!
I wonder why many people like it so much . . . it's by far the most dissonant score of JW's later career (much more so than MR)!
Not to mention maturity.
#134
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Posted 20 April 2012 - 06:47 AM
It's a very unique score, at least for JW. It gets major points for originality and approach.
Yes, original it may be, but I think this score is not a very "easy" listen either way (like Indy, Star Wars, E.T. etc).
Just not my cup of tea (although of course it's not bad).
#135
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Posted 20 April 2012 - 02:43 PM
Scores that impose steeper demands on the listener are qualitatively superior.
#136
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Posted 20 April 2012 - 03:31 PM
Scores that impose steeper demands on the listener are qualitatively superior.
No.
#137
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Posted 20 April 2012 - 03:38 PM
Oh Josh! Alan is just teasing you! 
Or he might be deadly serious.
One never knows when it comes to Hlao-roo.
I admit a phenomenon most curious.
Or he might be deadly serious.
One never knows when it comes to Hlao-roo.
I admit a phenomenon most curious.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#138
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Posted 20 April 2012 - 03:39 PM
Well, what do you think, Incanus? As regards WotW, I mean.
#139
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Posted 20 April 2012 - 03:42 PM
I like the score very much, perhaps exactly because of its different approach. It is all rather doom-laden, propulsive, aggressive and dark music but superbly dramatic. When I am having a bad day I usually listen to it to vent my anger. 
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#140
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Posted 20 April 2012 - 03:50 PM
I like the score very much, perhaps exactly because of its different approach. It is all rather doom-laden, propulsive, aggressive and dark music but superbly dramatic.
It's different, sure. But different doesn't necessarily mean more high quality...
That's why, like I said earlier, I am surprised that so many people seem to like this so much.
Many people seem to crave just different approaches from Williams, regardless of whether the end result is good or bad. They seem to say, "Well, it's different, so it's good!" WotW is one example. PoA is another (although I love this score myself, I can't help but feel that it's rather overrated around here).
When I am having a bad day I usually listen to it to vent my anger.
#141
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Posted 20 April 2012 - 03:54 PM
I do not mean to say that WotW is good only because it is different. I really feel that it has certain raw energy and pull to it. It is not highly thematic but as I said propulsive and relentless. I seem to find similar dark allure to it as I do with The Fury (which is much more thematic), the grim and fateful and elegiac tone of the whole score fascinating. On one hand Williams was writing very melodramatic monster music in the spirit of the old sci-fi and horror films and on the other he provides lyricism for rare moments of calm in the orchestral storm that range from moments of ponderous tragedy to intimate ethereal piano solos.
I like the score very much, perhaps exactly because of its different approach. It is all rather doom-laden, propulsive, aggressive and dark music but superbly dramatic.
It's different, sure. But different doesn't necessarily mean more high quality...
That's why, like I said earlier, I am surprised that so many people seem to like this so much.
Many people seem to crave just different approaches from Williams, regardless of whether the end result is good or bad. They seem to say, "Well, it's different, so it's good!" WotW is one example. PoA is another (although I love this score myself, I can't help but feel that it's rather overrated around here).
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#142
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Posted 20 April 2012 - 03:59 PM
I do not mean to say that WotW is good only because it is different. I really feel that it has certain raw energy and pull to it. It is not highly thematic but as I said propulsive and relentless.
Hmmmm, yes. Good point!
I really wonder whether JW finds it easier or more difficult to write this kind of non-thematic, rhythm-based score as opposed to more thematical material (like Star Wars, Indiana Jones, etc.).
#143
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Posted 20 April 2012 - 04:07 PM
Actually you can observe Williams leaning towards rhythm and propulsion in many of his scores in the past 15 years. From Star Wars Prequels to Patriot to Minority Report Williams has made concessions to the modern film scoring style and gravitated towards more ostinato and rhythm based forward carrying motion in his action music over fluid balletic thematic development of the yesteryear. It does appear frequently in his scores as well, since it is so ingrained in his style but propulsion has clearly become very dominating in modern film making and thus even masters like Williams have to follow the times and adapt.
And of course there are among the scores he has done during this period these thematically rich and balletic scores where the action music is equally fluid. The Adventures of Tintin springs first to mind as a recent example.
And of course there are among the scores he has done during this period these thematically rich and balletic scores where the action music is equally fluid. The Adventures of Tintin springs first to mind as a recent example.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#144
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Posted 20 April 2012 - 04:13 PM
Actually you can observe Williams leaning towards rhythm and propulsion in many of his scores in the past 15 years. From Star Wars Prequels to Patriot to Minority Report Williams has made concessions to the modern film scoring style and gravitated towards more ostinato and rhythm based forward carrying motion in his action music over fluid balletic thematic development of the yesteryear. It does appear frequently in his scores as well, since it is so ingrained in his style but propulsion has clearly become very dominating in modern film making and thus even masters like Williams have to follow the times and adapt.
Yes, indeed. And WotW might be an extreme example of this new trend.
I am not saying I don't like this new trend, on the contrary, scores based on rhythm and ostinato, propulsion and drive, can be very listenable and fun. But when a score is all that and then very dissonant to boot, without any recognizable or hummable themes, then I am not so sure anymore. Surely, film score lovers tend to look for (signs of) themes in any score. When they're missing, well . . . I can't help but feel that the score is lacking in some respect.
But yeah, as to WotW, it might be quite underrated . . . by me.
#145
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Posted 20 April 2012 - 05:07 PM
I always admired War of the Worlds as a score. Yes its hard to listen to. But JW's intentions were clear and the result is actually quite an intelligent score if you ask me.The tension that Williams builds is well conceived, and the raw energy in the score is rather effective.
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#146
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Posted 20 April 2012 - 09:22 PM
Guess I'll jump in here, though don't know how valid my opinion will be.. I actually enjoyed War of the Worlds. I saw the film in theatres with a friend of mine and wondered what williams' approach was going to be for the score. After the first 20 minutes I was reminded of JAWS in a way. It was a score that instead of a theme used an ostinato to convey the fear brought upon by the shark. I felt Williams was using a similar of not the same approach here. Not that it was a bad thing! It was most welcomed. Even when watching the movie, I did start getting goosebumps by the time it got to the ferry scene. Its just one of those scores that gets under your skin and you aren't aware of it at first, but gradually you realize that its working on a subtle level. Just my thoughts.
#147
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Posted 21 April 2012 - 06:12 AM
War of the Worlds contains a melodic theme based on the Dies Irae. It just gets some very camouflaged variations, which can make it difficult to spot it.
Recently Purchased CDs:
1. Nightwatch/Killer By Night - Johnny Williams and Quincy Jones 2. Diamond Head/Gone with the Wave - Johnny Williams/Lalo Schifrin 3. Mass - Leonard Bernstein 4. Bernstein with the New York Philharmonic - Leonard Bernstein
1. Nightwatch/Killer By Night - Johnny Williams and Quincy Jones 2. Diamond Head/Gone with the Wave - Johnny Williams/Lalo Schifrin 3. Mass - Leonard Bernstein 4. Bernstein with the New York Philharmonic - Leonard Bernstein
#148
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Posted 21 April 2012 - 06:29 AM
You truly have Dies Irae on the brain but it is quite apt description.War of the Worlds contains a melodic theme based on the Dies Irae. It just gets some very camouflaged variations, which can make it difficult to spot it.
And actually the score contains more than this one motif, Williams even at his most athematic could not stay away from building recurring recognizable musical ideas.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#149
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Posted 21 April 2012 - 06:48 AM
I can't help it, I just wrote a big research paper on it. And you are quite right, there are some other melodic themes. Do any of them other than the Dies Irae carry through the entire film, though? It's one of those scores where every time I hear it I pick up new features, but I always feel like there's so much more I haven't yet discovered yet, so I wouldn't be surprised if there were.
Recently Purchased CDs:
1. Nightwatch/Killer By Night - Johnny Williams and Quincy Jones 2. Diamond Head/Gone with the Wave - Johnny Williams/Lalo Schifrin 3. Mass - Leonard Bernstein 4. Bernstein with the New York Philharmonic - Leonard Bernstein
1. Nightwatch/Killer By Night - Johnny Williams and Quincy Jones 2. Diamond Head/Gone with the Wave - Johnny Williams/Lalo Schifrin 3. Mass - Leonard Bernstein 4. Bernstein with the New York Philharmonic - Leonard Bernstein
#150
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Posted 21 April 2012 - 07:25 AM
The nod to the old WotW and monster music of old, the motif for the aliens and their machines appears quite a few times when they are commiting their most violent destruction.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#151
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Posted 21 April 2012 - 08:27 AM
But JW's intentions were clear and the result is actually quite an intelligent score if you ask me.
Well, yes, but then 99% of his scores are, aren't they?
I will listen to it again, but I am not sure WotW specially stands out in that regard.
Guess I'll jump in here, though don't know how valid my opinion will be.. I actually enjoyed War of the Worlds. I saw the film in theatres with a friend of mine and wondered what williams' approach was going to be for the score. After the first 20 minutes I was reminded of JAWS in a way. It was a score that instead of a theme used an ostinato to convey the fear brought upon by the shark. I felt Williams was using a similar of not the same approach here. Not that it was a bad thing! It was most welcomed. Even when watching the movie, I did start getting goosebumps by the time it got to the ferry scene. Its just one of those scores that gets under your skin and you aren't aware of it at first, but gradually you realize that its working on a subtle level. Just my thoughts.
The "Theme from Jaws" is hummable, and furthermore instantly recognizable. Hell, even a 3-year-old would instantly recognize it. And Jaws has several other neat themes.
Is any "theme" in WotW instantly recognizable or hummable? I don't think so.
I think that's the main difference. (I am not bashing WotW, mind you, just pointing out what I perceive to be a big difference.)
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