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Lewya

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Lewya last won the day on May 11 2016

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  1. Here is his best of the decade list for the 1990s, 1980s and 1970s by the way. The 10 best scores of the 1990s: Elmer Bernstein: The Grifters (1990 Howard Shore: Naked Lunch (1991) Joanna Bruzdowicz: Jacquot de Nantes (1991) Thomas Newman: The Player (1992) Akira Senju: Rampo (1994) John Williams: Sleepers (1996) Neil Young: Dead Man (1996) Dave Grusin: Mulholland Falls (1996) George Fenton: Mary Reilly (1996) John Corigliano: The Red Violin (1999) Best new film composer of the last decade: Thomas Newman.
  2. 60s: I don't care for any of the scores Williams wrote this decade, I have heard some of them and I don't feel encouraged to keep exploring 70s: The Long Goodbye 80s: I don't feel enthuastic enough about any score Williams wrote this decade, I am sorry to say. Some decent work to be sure, but it is nothing I listen to 90s: Nixon, which is maybe his second best score outside Spielberg after The Long Goodbye 00s: I don't fee lenthusiastic enough about any score Williams wrote outside Spielberg this decade, I am sorry to say. Some decent work to be sure, but it is nothing I r
  3. Michael Giacchino picked his top 5 film scores of all time: 1. Planet of the Apes - Jerry Goldsmith "The score is by Jerry Goldsmith, and it is absolutely just one of my favorites. I remember seeing that as a kid and being blown away by how weird it was, how it didn’t sound like any other film score I had heard. It was just incredible, and I found him to be one of the most creative, interesting composers for film ever." 2. North by Northwest - Bernard Herrmann "Of course, Bernard Herrmann is amazing, but North by Northwest is probably one of my f
  4. He called Williams's The Fury a masterpiece, but generally finds Williams overrated as a composer. From Varese Sarabande's ongoing series of CD reissues of MCA original soundtrack recordings comes The Fury (VSD-5264 [ADD?]; 43:39; London Symphony Orchestra), an absolute masterpiece from the pen of John Williams, a composer I have generally found overrated. In his score for Brian De Palma's second go-round with the subject of telekinesis, Williams has created music that stands on its own particularly well but that also communicates the entire affective content of the film if you hav
  5. On Nixon and Sabrina: I found John Williams's Nixon not only one of the major scores of 1995 but certainly one of the composer's best efforts in several years. Yet a person I was talking to in a Manhattan store specializing in film scores and theater music put at the top of his list Williams's score for Sabrina (A & M Records 31454 0456 2; 51:13), Sidney Pollack's remake, which I may or may not catch when it comes out on video, of Billy Wilder's 1954 classic starring Audrey Hepburn, William Holden, and Humphrey Bogart (a British actor named John Williams also has a role in the
  6. He is one of the best-known film music scholars out there. The author of one perhaps classic film music book: Overtones and Undertones: Reading Film Music.
  7. The two last Royal S. Brown on Williams reviews that I found. He writes that HP 1 is basically middle-of-the-road Williams. Royal S. Brown on the CD - JOHN WILLIAMS POPS IN SPACE. Superman; The Empire Strikes Back; Star Wars; Close Encounters of the Third Kind Well, here we have a major American orchestra with the most popular film composer to come along in some time conducting excerpts from four of his best-known scores on a digitally recorded album released on an exceedingly prestigious label. And what does it all add up to? A lot of very mediocre music, I am afraid.
  8. "The music for A.I. Artificial Intelligence, also reviewed this issue, reveals composer John Williams's usual mastery of the big symphony orchestra, his ability to generate drama on a moment's notice, his innate lyrical gifts, and a very keen sense of harmonic movement. But the CD, as good as it is, would not have made this Want List if it had not included two cues—"Cybertronics" and "Hide and Seek"—in which the composer trades in the high theatrics for much more subtle utterances that get beneath your skin and infuse your fairy-tale sensibilities with doubt and paranoia. I also admit to a mis
  9. I hope that someone else here might find his film music reviews of interest. Royal S. Brown on John Williams's A.I. Artificial Intelligence: Stephen Spielberg films are a sucker punch: The director sets you up with all sorts of things that you just have to love—childhood, motherhood, cuddly aliens, patriotism, even paranoid adults and great white sharks (not much difference there, eh?)—and then, not unlike Sally Field at the Academy Awards ceremonies a few years back, just stands there and begs for you to love him. Well, hey, I'm not perfect, and I fully admit to being crushed by A.I
  10. He went on to talk about why he likes Williams’ score for Close Encounters so much: "I think the tones of the instruments. When I was a child, I thought it was just synthesizers but it’s not… I don’t know why those particular sounds always stuck with me when I was a child. They’re relatively simple. The tuba is only one instrument but they make it sound so immense. The way that John Williams composes this piece is super modern as well. Melodically, I have no idea how he went about composing it, but the idea of one pattern being repeated and changed and then repeated and then change
  11. Agreed. Take away The Long Goodbye, Images and Close Encounters and I would think much less of him. I probably wouldn't be able to counter the arguments that all that Williams does are these grand romantic gestures over and over again. Sure, there are some other scores where he deviates from his usual shtick, but not that many. I wish Williams did scores like that much more often and that is one of the reasons why I prefer more imaginative/progressive composers over Williams. I wish one didn't have to reach back to the 1970s to find most of the exceptions. S
  12. Roger Deakins (and his wife) interviews Thomas Newman for their podcast: https://teamdeakins.libsyn.com/thomas-newman-composer Newman almost never does these kind of interviews, so it is a rarity.
  13. Dammit, I am curious enough that I will download the app and post his selections. If it includes Williams I will be posting his choices in this thread. I will post Zimmer's selections in the FSM thread, Thor. It seems like you can't get to all of the tracks right away, so I will have to listen for 85 minutes and Shazam the tracks I don't regonize.
  14. I doubt that Zimmer included Williams on a playlist for a meditation app, but let's hope someone is able to provide the info No, this is a different list of his that hasn't been shared before.
  15. Ryuichi Sakamoto's 1 hour long film music playlist - he included one track by John Williams. Sakamoto's playlist is around 3 years old. Most of his choices this time around are more mainstream. Two of the 12 tracks are preexisting pieces. Jerry Goldsmith has the most tracks on the list with three pieces. Ryuichi Sakamoto's 1 hour long film music playlist (it is intended to be listened to in this order preferably): Main Title from Alien by Jerry Goldsmith Prelude from Psycho by Bernard Herrmann Ave Satani from The Omen by Jerry Goldsmit
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