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When i heard the 'Nemesis' score in the film, i just knew that Goldsmith certainly hadn't lost anything...illness or not. The orchestration is really bare bones and it doesn't sound very exciting because of this, but how he spins a web of ideas from the central theme and writes a whole 80-minutes-score around this is ingenious. Not a colorful 'adventure' score, but a brooding, monothematic gloomy score. I like it!

Jerry Goldsmith raped my nerd-hood!!!

Well, as long as actual themes are interwoven in the action music i will be happy.

Seconded, thirded and flaming well fourthed!!! From what i could gather, the 'Crystal Skull' theme is a somewhat tranformed version of the 'Ark' theme. But you never know with these nutty french...

Is there a kind of established norm for being a 'real' artist or a 'false' one, for that matter? I find all this 'what real artists think' talking incredibly backwards...as if americans now have adapted european art snobbiness ca. 1900. It's as if people need to boast about their intellect by stating lofty things about art as if Moses brought the very definition of high art from Mount Sinai and they read it first.

Well, if it isn't Williams, i still would like to know what it is :cool: Sounds like Horner around the time he wrote "Pagemaster"....

One has to see. My biggest fear is that the film looks like the trailer, which i found not very encouraging. Apart from the deja vú's like the room with the crates, the whole thing did somehow look like 'Tomb Raider 3', at least before the Williams music starts. I guess it will be a so-so film with hopefully a great score....

But maybe most people who hype themselves up the gazoo are in for a disappointment, anyway....How good can this film possibly be, considering all the factors involved. Let's hope Williams comes out of this smelling like roses...

I'd have to agree with you there. I'm very impressed with this score, and the sound quality only adds to that. Does it sound better than on the SPFM disc? The sound there was ok, but nothing specatcular...

Yes, completely ruining whole pieces like in the last 'Star Wars' film where the 'Duel' suddenly interrupts a perfectly fine piece of music for minutes....was it 'Anakin vs. Obi-Wan' or something?

I don't like the cutesy theme much, but after listening to 'The Jump' on Intrada's website, i knew why Goldsmith is still king (of action music). Got it.

'March of the Soviets'?

Or maybe the master tapes of 'First Knight' or 'Powder' aren't as tightly guarded as those of 'Jurassic Park'? One wonders why...

Why don't you just wait if you even want more?

And you wonder why?

Apples and oranges. These movies are so obviously from a different era of moviemaking (and sound effects) that i wouldn't complain about the composer's appraoch. Williams did really the best he could with it.

Just forget it.

Although i find it debatable if 'A Beautiful Mind' really functions well in the movie - the music makes the film even more sappy, but what do i know, it got Academy Awards...

At least the action music would be better. for me to poop on, thank you. Coming from you, that's hardly a sound argument against Supergirl's action music...

At least the action music would be better.

And isn't that the point of the whole debate? "I" (capital) like X or Y better...much too often, people try to prove 'scientifically' (our musical studied seem more guilty of it) that their opinion is right, often patronizingly so ('yes, yes, children, but now big daddy tells you how it REALLY is'), other people have heard three scores by composer X and touting their opinion about his lifetime achievements loudly like there's no tomorrow. And it adds up to what, exactly?

I guess i'm more pragmatic, i doesn't interest me per se - when i like the 'variation' of 'Beautiful Mind' more than 'Sneakers', i'll just take the latest thievery for my pleasure and delete the 'Sneakers' tracks. But if too many works have common traits, i'll run out of spots to cut out for my iPod...and that's bad, because i run out of new material.

Well, this is rather old news, actually spreaded by Horner himself on numerous occasions. The so-called 'principle-of-theme-and-variation' doesn't really apply here, though. More often than not there simply is no variation - it's just a thinly disguised copy, made to fit the frame of another movie. Throwing academic terms at it doesn't make it any better...and when i think of Rozsa's 'Themes and Variations', i know how varied a 'variation' can sound. It's an interesting discussion, though, since some of Horner's works fit this bill (let's say the infamous love theme from 'Enemy at the Gates' and a theme in 'Balto' and so on). But more often than not, letting every action scene passing by with square drum meters and passing it off as 'variation' is just nutty.

Not really. I really like symphonic Horner (some of it, anyway), but i'm simply bored to tears by this very device you're describing. Horner doesn't 'explore' it, he just recycles it and it becomes a joke in the process. To add insult to injury, in an old 'Soundtrack' issue Horner and Ron Howard joke about other composers and how they just use old music to phone it in. Horner, on the other hand, always tries something new. Since Howard now refuses to use Horner as his composer, i guess the joke's now on him...

UNDERSTATED? We have to write to Encyclopedia Britannica....they should change the meaning of the word according to whatever 'PS' is - and understated, it ain't. Why Tchaikovsky/Prokoviev ('Hedwig's Theme) mixed with Hollywood style saccharine (whatever forms the first minutes of 'Harry's Wondrous World') adds to 'depth' is another matter.