The Artist would have been a fantastic opportunity to hear how Williams would pay tribute to the greates of the early years of film music, especially considering his incredibly expertise.
I would have loved to hear Williams score more films like Children of Men or Tree of Life. The kind where we can hear him experiment more. I keep thinking that Williams would have channeled the Penderecki sound and atonality for Children of Men, and it would have sent the chills down my spine in context (although the music used already does this).
I may be alone here, but I'd have also liked to have heard The Da Vinci Code scored by him. I'd be curious what he'd bring to table for all the religious overtones. I liked Zimmer's score, but to think what it could be in the maestro's hands.
Basically I would have liked to see Williams branch out more. Of course as much as everyone else, I too would love to see Williams helm every blockbuster summer movie, but I'd rather see him score more films like Memoirs of a Geisha. The films that truly inspire him to write something passionate. Instead of the usual historical dramas or action adventure films, it would have been interesting to see the maestro try his hand at more Malick-ian films or more intelligent/thought-provoking sci-fi that might pull out the minimalistic devices we heard in A.I..
That and a biblical epic. In his massive career, he has yet to score religious epic a la Ben Hur. Hopefully, somewhere along the way, he'll get that Moses film under his belt!
Sorry for being late to the party, but I thought I'd just chip in for a bit (nothing much grant you).
I've always stood by the idea that John Williams' music makes Star Wars, Even when he pushed the prequels ahead in a new direction in sound, his music is a huge part of retaining some form of the original spirit of Star Wars (however little it was present in the trilogy). If this new film was scored without John Williams, I'd honestly think it'd just seem like another Abrahms Star Trek film. Williams' music and sound is so incredibly important.
As much as I'd like the maestro to explore other genres he has yet to score like a blblical film (this is why I wanted the Moses film project to lift off), I'm incredibly excited for this. Williams already took The Phantom Menace to bold exciting new sounds. Imagine Williams working with new blood for the first time in a decade! The possibilities are endless and I can't wait to hear the potential results!
The score contains some of the most beautiful music in Young's career. The score's greatest asset is the beautiful soaring theme. The combination of the tin whistle, the Celtic drums and the various ethnic elements are incredibly effective. At times however, the score can seriously drag and even come off as a bit emotionally distant, but its harmonic highlights more than make up for it. * * * *
I'm proud to be able to finally announce our special guest for this challenges' Hear From the Pros. We have the privilege of having two-time Golden Globe nominee Abel Korzeniowski join us!
Abel is one of the rising stars of film music, often lauded with critical acclaim for his rich, vibrant music, this talented man has agreed to help act as a professional advisor for the challenge by offering commentary on the entries. He's excited to hear all your work and looks forward to sharing this experience with us.
Listened to the entire youtube track, wasn't impressed. It's the big classic orchestra sound we want but... .somehow hollow / soulless? I dunno. John Carter catches your attention 5 seconds into the first cue
5 seconds into John Carter I thought I was listening to Super 8. Ottman's score was more enjoyable for me on the first listen.
Jack the Giant Slayer lacks cohesion, strong themes, and also falters a bit in the mid-portions of the score. But most of it, through its various musical colours and styles (especially in its highlights) are executed so well that it makes a more entertaining and diverse listening experience than John Carter.
I think Anna Karenina is an outstanding score, definitely Marianelli's best, though I admit I'm not familiar with much of his work. I agree about the rest though, they've all done better scores.
It's a great score, but definitely not Marianelli's best. His best work is arguably his powerful epic score for Agora. Scores like Brothers Grimm,Atonement and Jane Eyre are definitely stronger scores as well.
Oh certainly, but that's not the argument here (or at least for me). It's just I seriously doubt there was any intention of a "power grab" when he was speaking a few words at some random concert to some random audience. I think these comments don't really mean much in the end and that they're being blown out of proportions.