publicist

Be assured that i make such comments only in the most puzzling examples (which i spot). Or i would have a full-time job on this board alone.

Williams' *year*? Because he might win his now sixth Oscar for what is certainly no major new work? This kind of thinking always was elusive to me. Who cares? What does it change? JW really has enough awards, honorary titles, plaques and so on. It would honor him much more if they would use the opportunity to showcase him and film MUSIC in a segment as (once) important artform that has been neglected and for quite a while now.

He did more, but it went unused. Be aware that Devil's Own was one of the numerous 90's movies that turned to shit because stars attached to it changed 10 times and with them the script and its character dynamics. The final movie with Ford and Pitt was a marketer's dream only and from what i remember, the origin story was completely different before they kept adding more Gary Cooper-honest cop stuff for Ford.

By all means, but please not the SW main title again. On a deeper level, the grungy thriller story presented to us in 'Andor' isn't SW, either. We tend to overestimate the importance of the musical element. I truly think it doesn't matter much nowadays with the huge sound mix, even if it would be less atmospheric, the operatic gestures would have never happened. And if they would happen like in Rogue One, dramatically amateurish and with zero regard for the musical ancestors guys like Korngold and Williams used as a role model, frankly, i prefer Britell's background atmo.

The work of an old and wise master!

I think even Williams stopped counting all the requiems he wrote for SW since ROTS.

No, he needs to release a big showstopper preferably called something like 'An American Symphony' with 500 piece orchestra, mixed chorus, cannon shots and allusions to all his big blockbuster cues. I mean, what more could we ask for?

Warlock, which for some inexplainable reason pops up as recommendation on Spotify regularly, is no shining beacon in the Goldsmith filmography, to put it mildly. What it is, though, weird synth noises notwithstanding, is a rather unique horror score. Written during the expansive 80's, the last thing on its mind is a loud roar unleashing huge orchestral forces. Instead it's quaint and harsh sounding, with a ominous tik-tok sound echoing a big clock that Goldsmith seems so fond of he basically uses it as a heartbeat throughout. The thematic material, a five-note call close to 'Legend's darkness motif, is not very memorable and the church hymn that pops up at the beginning and the end is ruined by accordion-like synth - i would have liked to peek into Goldsmith's head at the time, the movie itself is entertaining in a cheesy kind of way, but it could sure have used a shot in the arm musically but exactly where the filmmakers practically invite him to the ball to dominate the proceedings, Goldsmith holds back. When you listen to the moments recalling classic Goldsmith, which are the cues 'The Weather Vane' and the big finale (Salt Walter Attack and Salt Flats), they fitfully remind you of Goldsmith's eminent status, but he employs the magic so involuntary it seems he hates his own guts. It was a weird phase for him, but still, you couldn't say he stayed idle. But it's no recommendation, really.

That's not what i am talking about, people get used to everything. I was more seeing the whole thing in perspective, all the pr claims about legacy etc., and it's bleeding obvious that they just feed modern habits and don't give a shit, really. It's not a big deal, things in popular culture just run their course, but when i watched the three episodes (which was a pure coincidence, i don't watch much tv these days) it was apparent that this doesn't share even the tiniest DNA strain with SW, and the music, if we call it that, felt like a total antithesis to it.

Never fuck with sentimental favourites, it's like dissing ABBA and you don't do it without suffering for it.

For some it just takes longer time to sink in. There is an almost religious hope put into weirdly phrased press releases and when you finally can look at the end product, you have to pinch yourself and ask 'Is this it?'

If you have the longer Intrada edition, i would limit myself to cues 1, 5, 6, 12, 14, 16, 18, 19, 20, 21, 24, 25 and 28. The musical downgrade of the past 30 years makes Horner's simpler writing of the 90's, especially in regards to his even-metered action cues, appear better than it is, but this is actually one of the few of his post-Willow scores that has a remarkably dynamic interplay between the orchestral sections. Why that is beats me, but rumour has it because much of it was ghostwritten, which doesn't make much sense. Why take chances when you have little time (especially repetition-happy JH)? Maybe Mikael Salomon loves classical music, who knows. Be that as it may, this kind of sophisticated, orchestrally complex writing did go out of fashion at last with Williams' 'Revenge of the Sith' (which has similar, weirdly complex passages for instance in 'I am the Senate', where i thought 'Gee John, why bother?').

If yo give it 6 months you may find it in his 10,0000+ filmography!

It would be WIlliams' biggest hit since many years!

It might have been 'Ripley', a Patricia Highsmith adaptation.