Oomoog the Ecstatic

Like I said, people choose Braveheart because of the movie, but it's a judgement error. It's still one of the greatest scores ever fathomed! but Titanic is better. Braveheart you can feel the whole movie and the extreme of emotions within the score. But with Titanic, the score made the movie. Braveheart was also a bit more safe. Both however are duly indescribable.

Yes they're good imo but there are much better out there. Forrest Gump OST is very overrated because of the film.

Both really overrated scores. For similar but more profound stylings check out Homeward Bound II: Lost in San Francisco.

I can't think of many soundtracks that fit this description better than Aladdin. More than most films or Disney films, if you removed the music you'd be watching a very different movie. I felt the background themes pivotal to the script and its flow and characters, Menken's unique emphasis of major harmonization and his specific instrumentation.

Compared to their Until Dawn, I think Dark Pictures has been more disappointing. But I still feel great fun exploring and investigating all these different scenarios and crazy plots without the limitations of combat. Combat games just feel like a waste of time most of the time, doing the same thing over and over, filler with no thought put into it. I can get into games like Overwatch because they're a lot more strategic and competitive. An adventure game I really liked actually was The Council (2018). Because it was an RPG but without any fighting aspect to it, imagine that. All your class customization was simply for advancing the story the way you want your character to. And then there was Pathologic 2. This video changed my life and I haven't even played the game yet. Ideally they'll make more of these games for platforms like Occ Quest 2. VR without the heavy hassle. The games make me feel like I was reborn in another universe in a different story.

I just cut up brilliant parts of understated symphonies and film scores and make new works that are out of this world. Hey, Williams thought of it first!

Dark Pictures Anthology's next installment!! Finally something again I know will be good. Although real adventure gaming is dead these days, the golden eggs of the decade were Contradiction: Spot the Liar and Until Dawn.

His style is really meant for specific types of scenes that are very artsy and warmhearted. Let me see if I can find you some example clips. It's good to watch the Star Wars original trilogy because that's the overwhelmingly best example of his approach to film and what type of movies he's suited for. (Not genre, but the style of narrative itself.) Here's a scene I uploaded to show the brilliance of a typical Spielberg-Williams pairing. The music gorgeously fits this director's vision of an expansive silent movement scene; it sets the stage and world. Hear the contrasts and resolutions. The following scenes epitomize the feeling of wonder, warmth, acceptance. These are very common themes in Williams best cues: The key to the following scenes is that the music is in a Major key. You see, most composers would not even dare to write something both dooming and in Major for such a scene. But it shows Williams had his priorities straight here: he wanted to make the scene not to be about scariness, but about adventure! ie. What is 'the light side' of the force? These deeper, double-sided meanings are important in understanding Williams' music:

No Homeward Bound II: Lost in San Francisco?

One of Williams best themes, hands down I think: Not even in the movie or main ost :

What could we do differently?

I'm equally interested in film as I am music, but the two often (and unfortunately) don't converge well in the sense that most of my favorite films don't have my favorite music. This is an unfortunate situation indeed, as my imagination is completely filled with great music going to great stories. It's just typically not a reality. My favorite examples of loving both the movie with the music would be the original Star Wars Trilogy, Final Fantasy X, Aladdin, Home Alone, The Time Machine (2002), and Howl's Moving Castle. But most of these aren't my favorite scores or movies.

On a personal level, I've always preferred the Star Wars OSTs. I wonder why that is, as with many of my favorite soundtrack composers I've never watched their films or played their games. I barely remembered anything from Star Wars when I got into Williams music, but maybe the films really do have something to do with it: Some of the thematic music of Indy is some of Williams' best, the Short Rounds theme. I might secretly wish that theme was part of the Star Wars universe instead , because I don't remember much Indy material influencing my childhood like theme parks or video games, and that might be the crux of why its style of music doesn't seduce me as much. The franchise didn't make its way to me, and when I watch the films today very open-mindedly I don't really enjoy them personally. As a kid I first enjoyed the Star Wars universe at the theme park with music playing, and later I started kind of enjoying the movies. Music is definitely a separate issue. My favorite films and video games just don't have my favorite music, and visa versa, but the two could apply in this circumstance. It's possible.

It was a great fake-out concept imo. It builds foreshadowing tension. However, I can't tell if it would be better removing the pause and continuing the music at P (piano) immediately after the decrescendo. This would be more old-fashioned.

I like these harmonies a lot that I can't even notate it with Roman numerals like usual iv - IIb - VIIb - V

1. 77; at age 45 writes SW which alone would've qualified for place 1. Not just leitmotif at its finest but Williams did a touching job orchestrating for space muppets 2. 02; at age 70 rehashes terrific SW and HP music in one year. I think he felt fully rejuvenated returning back to his baby after 20 years 3. 82; age 50 writes ET 4. 80; age 48 writes ESB 5. 83; age 51 writes some mind-blowing music 6. 93; age 61 writes JP and SL 7. 04; age 72, Williams at his most agile writes PoA and Term 8. 20; at age 88 he's age 88 I put Williams as an A+ on last week's tier list but overall in my listening he's been an S. Can't think of many composers I'd place as high as A+ anyway.

There's this restaurant near my house called McDonalds, it's pretty good. I bought a double burger and a drink for only $11, the bread was a little stale but everything else was good.

This is cute! I think some of the clips I posted would work really well too, especially the third one.

In this dystopia of Gotham... The bleak and hopeless villain theme is represented by power brass. Coming to save the night, the high winds like bats screech in procession. Overall summary:

It's a conspiracy headed by the aliens themselves. There were hidden secret messages in that music.

It's a conspiracy. I remember all the articles on it 15 years ago, and the original Halloween flying across the sunset cue sounded different. It's out there somewhere but they're hiding it Spielberg had said that he changed it to where the group will fly over the sunset instead in a later cue.

Initially Spielberg was going to have Elliot and E.T. fly across the sunset during the Halloween flight sequence, and so Williams wrote a separate track for that. This wasn't it. I just remember it having a specific sound.

Anyone know the name of the track Williams recorded initially for E.T. and Elliott when Spielberg was having them fly over the sun instead of the moon during Halloween? The internet these days is such crap, I can't find it anymore.

Precisely. Spot on. Although to avoid confusion, there are two lists. The above list I previously posted because it was more 'fresh' and gives members a lot of unpopular recommendations to consider. However I just replaced it, with the fully accurate one. I didn't want to post it because people are already used to seeing a lot of these names, but there's the golden list now... where underrated scores by JWFan members are at their best mathematical adjustment.

If you see sentence 3, 4 and 5 above, it says that this is mathematically a critical 'Best of Williams list' to refresh you on some of his best scores overall, especially scores that may be a lot better than their films and thus get forgotten or overshadowed for not being as popular, even though they're actually better scores. We're just not used to hearing some of these scores as "the best" yet, like Hook, Temple of Doom, Angela's Ashes. They're not better 'according to popularity', but they may be better after cultural and childhood bias is removed from one's perception of more popular scores. The mathematics is a tool to logically show how these might be better scores. E.T. The Extra-Terrestrial for example, only moved up a placement from here, so it's one placement underrated, making it the #1 Williams score overall. Bias occurs in thinking 'Bigger is better.' In other words, the bigger and more memorable the film, the more people will subconsciously overrate the score. But there are many Williams scores for smaller films that are better, so the OP is the adjusted list of Williams' Greatest Scores. This is not meant as an end-all be-all list. More like a recommendation to you. We used the score's popularity not the film's popularity as the divisor, as this creates a much more accurate contrast between film score fans and Williams fans, providing the most accurate possible list for JWFan.