Cantus Venti

Underrated as per this thread, I simply used to refer to things which don't ever get commented on or noticed, excellent music but which hasn't (as far as you know) received any discussion. So this thread really is not too complicated, I want to simply focus on sharing new examples. It doesn't have to be too underrated. Let's just keep it interesting! This following example might not be as interesting though, it's more of an example of what I'm looking for: It includes one of my favorite little moments I never hear being discussed by people, the kind of sound and emotion I prefer to focus on in scores. I always thought the 2nd shift to the post-melody of E.T.'s main theme, that passionate chord Williams reached at the height of a rich lydian melody, with Elliot's eyes glazed over in realization, was underrated (or not noticed or discussed by people.) It gives off such a hopeful emotion and to me, this harmonic movement to low brass is the epitome of the "Adventure" sound: While 0:52 is where the 1st shift begins, pretty average, that 2nd shift at 1:02 I find to be incredibly thoughtful and wonderful. Williams sure knows what keys aught to follow. I hope he was thinking of Herrmann when he wrote that part. Also, maybe this not the perfect example of "underrated," but I give you all the room now. So please, one-up me!

If you're competing with everyone who took his class, it's going to be difficult. There'll only be a 20% shot at an oscar.

That's the discount price one, along with Hans Zimmer Teaches Acting - MasterClass. $40 package for both. https://www.masterclass.com/classes/kevin-spacey-teaches-acting Dude, they should make a TV series where Kevin Spacey is a film director like this, just teaching all his wisdom, but with a good plot. Or instead of a good plot, just Kevin Spacey.

I'm gonna start calling this score "Fantastic Beats."

My overall point hinges on that things will always change and evolve, and we have to let it. What I'm hinting at is that, things can either evolve with more-or-less intelligent guidance and creative mind, or with tolerance in just letting it spiral down into whatever primitive form it wants to take (much like film music that doesn't do anything really new but yet we treat it like it is brand new, more evolved and improved. (When it's actually being sat out for the garbage man to take next week and the producers have it all planned--this is just my theory though .)) Somehow we fool ourselves with all these arguments and ideals that we're experiencing an improved future. In reality, the existence of anything is a bell curve. It grows, evolves, and then slowly devolves and becomes extinct. Sometimes however we can alter this movement for a short while and make things even better, if we preserve all the amazing knowledge from the past few centuries, and exercise good judgment from history, teach the younger and try to grow from there. These "standards of the time" being touted, aren't as much standards as they are merely circumstantial and ambiguous in a response to a change in technology, if even that. Anyway like I say, if you like something, it's not for me to say it's objectively one way or another. We all have our opinions.

Sure, though precisely what you say there is what I'm talking about. A shift in the role of X, Y and Z is determined by the audience's tolerance of this shift, else they be designed by production more thoughtfully and desirably to meet the change in expectation. Designed in another way. Evolution only creates what works, it doesn't create what works best. This scientific rule has only been at the forefront of film since its existence, its competitive evolution, and if you're okay with how the industry is shifting and what roles are being sacrificed, that's fine. It's your elasticity. But there are many alternate routes for art to take, in fact, it's unlimited. There is no need for too much tolerance. At the end of the day, the way movies evolve is the audiences' call, kind of similar to what president we're stuck with.

Imo, things will no longer be just "as good as it gets nowadays" if only we not praise underservingly things as more than they are. We feel like we have to be thankful for new movies and media because we don't want them to stop making things. But that's a false concept. Nobody is going to stop making things, they're either going to get more competitive if we be honest with what we see and have seen before, or just push out what everyone's simply going to lie down and tolerate. We have this incessant need to like and appreciate everything that comes out new more than it should be, and not admit that there's an underlying problem and change of standards. The more we just go along with the crowd, like what's happened with the hip hop movement or Netflix's slowly and monopolizingly terrible movie selection, there's never going to be any new growth of standard, because the checkpoint is not being preserved but abandoned. We'll all just be trained to be obedient and accepting of whatever they jumble together, to be thankful and give them our $10. But this is just my opinion, I don't really give a * if it receives a thousand dislikes. People have this way of forcing them to think things are better than they really are, even saying "it's the best thing ever" when it comes out. If you really enjoy, for instance, Fantastic Beasts and the standard it sets, that's fine! I'm actually 100% open and willing to enjoy something new more than the old. But when I open my mind, and at the end of the day I still know I don't like it, I just don't. I want to give John Williams 20 more years of my life to use as his own.

Okay, is it really necessary to make that a meme just because I voiced my opinion? It's better that Abe sends that letter to the music industry in general, with all its sweet beats. I understand a lot of people are going to like these pop styles even rehashed into orchestra; you get a simple arpeggiated theme, some orchestral sound fx, and put it to a niche production and sure, it will garner more attention than any incidental classic score. Also, looks like the score's getting pretty mixed reviews as well from other people on review sites, not something we see nearly as much from someone of John Williams' caliber, who while isn't original either, definitely feels to me like he's got more going on in his brain. My favor leans toward the style of movie, as a member earlier said, "glad they're making these instead of more Marvel and DC sequels." I personally loved the first several Harry Potter films.

Score seems pretty average, but alas, a lot of these popular movie scores are. I always wonder how far fundamental harmonies like these can get you without weaving together subtle ornamentations and dynamics of a more diverse and refined palate, or simply more fascinating melodic progressions. And barring musicality, something more-to-the-point in understatedness. Actually, I don't think banking on harmony and vigor alone can get you anywhere musically, unless you're the first church of hollywood.

I'm really curious to hear some of your opinions on "What the most underrated score moments in movie scenes" are. Feel free to get technical and specific if you want. Or, just casually post something, a simple example is whatever works best for you. Some references for the term "underrated" might include: "How has no one ever commented on the genius of this musical moment?! I think it nails the interpretation of this scene." "So subtle yet profound. This choice in music was very appropriate. It really delivered to the subconscious its intended effect." "Just these few details... Never would've even thought of composing that!" or, "This idea really made this scene unique and special. Really made it what it is." What are the most underrated score moments of scenes for you? Even down to the faintest details of delivery, or something broad spanning across an entire movie.

In the same way that a soundtrack can be viewed as better simply because it was in a good film or TV show, for instance, Twin Peaks music is not really that great but it stirs a lot of commotion due to the interesting context people attribute the music with, I think people attach extra meaning and context onto movies based on ie. friends, memories, what social reps say, "trends," for example: when can we ever say a certain era had the best music and clothes, as it may have had the worst style and sound of any era, and we look back on it to say what was I doing, but alas. Everyone went along with it because it was big news, it was just the timing of it, what "happened" to be the case due to some random chain of occurrences. In the same sense, why can such bad movies, games, books, etc be remembered, and yet really good ones nobody has even tried or knew existed? It comes down to people with bad taste, and the reason for this is not the inability to recognize depth and quality instead of the styles they're educated to think are cool, or the availability of items and movies sold in their stores, but rather, they aren't given the proper chance to (a) form an original opinion and (b) recognize depth and quality due to social reps valuing marketing more than culture and diversity. Even social reps can be friends, youtubers and popular tv shows taking a look back on old classics, new movies referencing old ones, and just the way the current trends pan out based on many unknowns. It depends much on the individual case, but may tie into social acceptance, ie. everyone liking the same things, a fear of being original and alone in liking something that nobody else does. "If x number of people say it's great, it must be great. If I really love something but everyone hates it, it must actually not be as good as I thought it was." You're asking why this is, but it gets down to the really specific trends we can't actually measure. Workers base their whole livelihoods off of tracking trends and fail all the time at seeing the real reasons behind things.

It doesn't have to be your favorite score, it's definitely a niche piece. I just want to give people the chance to be good, I'm want to give them a chance at salvation.

I also recall JW using the words Cowboy and Bebop. It's likely frequently on his mind.

I genuinely feel that whoever doesn't think The Time Machine (2002) is one of the best scores of all time is a bad person.

This ravishing essembly of strings that wildly ascends to the main theme, as well as the epic piano sound right before that which resembles the orchestra being "dropped," boldly reminding me of an echoey canyon. 2:00