batmanand

The Prologue from Hook is the best 1:30 of music JW - indeed pretty much anyone - has ever written.

SL is one of the most effective scores of all time. And one of the most haunting. And one of the most beautiful. And one of the most tragic. And one of the most sad. And.... FOR GOODNESS SAKES DONT VOTE IT OFF NOW!

me too. Who wrote that nifty little tune anyway? Some guitarist I heard.

I am amazed that anyone had listened to Stepmom enough to justify an opinion.

I quite like the national anthem of Krakozhia.

The main theme of SYIT is better, but the overall score of MoaG is better.

Happy Birthday. May he have many, many more.

ET is a fantastic score, but as a film it is a little dated. Schindler's List is a classic, which is easily Spielberg's best to date.

Stepmom. Has no redeeming features.

Doyle but they are both poor, not only relative to Williams' efforts earlier on in the series, but also on an absolute scale.

Agreed. The more I think about it, the better Munich gets.

Ditto

Aside from Golden Age score, the following I would consider to be some that are up to Williams standard: Stargate - Arnold Independence Day - Arnold Cutthroat Island - Debney Batman - Elfman Edward Scissorhands - Elfman Dances with Wolves - Barry maybe Finding Nemo - Newman Hannibal - Zimmer The Hours - Glass (although it is obviously totally different from a Williams score) Peter Pan - JNH (although it is nowhere near Hook) The Mission - Morricone

Wow. What a film. Dark, morally ambiguous, utterly depressing. I found some of the scenes almost unbearable to watch - a feeling I have only ever got from Schindler's List before. I found the sex/tarmac scene to be incredibly powerful, signifying the final transformation of a good man into a psychotic, neurotic, paranoid wreck. In many ways the story is Schindler's List turned on its head; in SL a "bad" (or at least amoral) man turns good, and saves the day. In Munich, a good man turns into someone whose very being, his drive, his sexal fantasies even, are wrapped up in killing and violence. For me what made it so gloomy was that Spielberg clearly presents the Munich massacre as the primary antagonist (it is a character in the film, there is no doubt), and as such seems to justify the Israeli response. But then we see just what that response does - to the men, to trying to stop terrorism, to any sense of morality anyone had. And it seems in the end that there is no way out. Either more Munichs happen or more violence happens. An astonishing picture, which to me surpassed SPR and only just falls short of SL.

OK OK Williams scores then. Some of the darker bits of WOTW. Some of the darker bits of PS and COS (found the POA dementors music a little underwhelming to be honest). The Fury (most of it) Schindler's List in a kinda fearful-that-it-could-happen-again Munich, now that I have seen the film and can place the music to it Some bits of SW music (eg Deal with the Dark Lord, Father and Son) Some of the chanting in TOD I am sure Dracula is scary, but I have yet to hear it.

Certain parts of Hannibal are truly terrifying. Oh, and POTC scares me. How could anyone - let alone a whole team of people - do such a bad job?

It has to be Geisha. How did it bet AI?!

Williams needs ot write at least one more score, so he can get nominated again and become the single most Oscar-nominated individual of all time (I am sorry but I don't buy this "Walt Disney gets all Disney company nominations" thing).

AI > Geisha

In terms of quality of score: probably Munich. But if he does win, it will be for Memoirs, because it is the score that is weeping through this awards season.

Or more accuarately, AI might have won if Potter hadn't split the votes.

The Terminal, but at this stage all are fine scores and none deserves to go out (least of all AI!).

CMIYC. This round was easy. Next round will be the start of the really tough choices...

That's what I was trying to say - I agree with every word And more to the point, CMIYC is the same type of score, only worse. It is madness to vote off The Terminal before CMIYC... Oh, and AOTC and AI are both easily better than CMIYC, The Terminal, COS etc. AOTC: is ATS not the best Williams love theme since, well, I would say the original all the way back in 1980. AI: I would say AI is Williams' best score for a long time (since TPM, probably, and then before than since 1993). A combination of just about every emotion man can feel, all treated lushly and fully, powerful on album and in film, a grea score for a mess of a film. I defy anyone to listen to Cybertronics and not feel a chill go down their spine, Hide and Seek and not feel uneasy and the presence of a non-human, Monica's theme (particularly in Where Dreams are Born - the best single track of Williams for a long, long time) and not feel tragic but uplifted. A truly awe-inspiring score.

Also, although it is not the best, the first few minutes of The Patriot, with guitar and lush strings are nice. That swell of violins at 1:45 in track 1 is the best bit of the score, IMO.