Oomoog the Ecstatic

I prefer the E.T. ride.

Nobody I care about.
 
Have to say, I dislike the majority of film music, but John Williams is an exception.
 
Would've been nice if JW, Spielberg, and Bruce Broughton collaborated more. Bruce Broughton is a good composer.

There's really no point in delineating very much. A favourite film is a film you consider great. If that sentiment is not shared by the established majority otherwise, well then you're free to call it underrated. Vice versa, you're free to dislike a film that is generally considered 'great' and call it overrated. Ultimately, it's all subjective. Unless you're charting film history through established classics, but where's the fun in that? Draws all personality out of it.

I'd tell them to go fuck themselves, you will never make it in the score-appreciation business. This is for serious students only.
 

I'd tell them to go fuck themselves, you will never make it in the score-appreciation business. This is for serious students only.
 

I'd tell them to go fuck themselves, you will never make it in the score-appreciation business. This is for serious students only.
 

Mb though, you have score bias on some of them from them being your favorite films? ie. not being able to hear the music purely but you hear your memories of the movie, reinterpreting the music as good because the movie was so great.
 
For me at least it's usually 'great score, not so great movie,' or visa versa. Except for Star Wars and Disney movies which were pretty much all score/emotions anyway, that register of 'cryptic beauty.'

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Continuing my Dvorak theme today
 
7:52 - 8:20 is very "Golden Age Hollywood" and I love it
 

45:36 - 45:50 Sounds like Williams in the early '00s:
(then again from 45:58)
 
Also, 37:46 sounds like something you might hear in a Harry Potter film:
 

Someone give Marianelli his proper fantasy flick please!
 

5:09 - 5:12
 
(Play it in reverse and you get this:
)

You didn't count good. Heres my toes

Because it's overrated relative to everything else Williams.

I heard from a little bird, that Zimmer writes primarily using cheese.

I heard from a little bird, that Zimmer writes primarily using cheese.

I know that this scene, for one, was surely a success. I can't think of many composers who have written such baseline effective high-seas reverberation: The part not only at 0:01 (great sound effects!), but the part at 0:49 is very romantic.
 
The rest of the score though, idk I'd have to take another listen.
 
 

Then create ones that do.
 
 
Labyrinth vs Brokeback Mountain

I don't KNOW
 
GOSH

Keira Knightley's boobs were the best special effects. She's practically flat-chested in real life, but the movie had me fooled into thinking she had a nice set of hooters. And they still hold up.

I know that this scene, for one, was surely a success. I can't think of many composers who have written such baseline effective high-seas reverberation: The part not only at 0:01 (great sound effects!), but the part at 0:49 is very romantic.
 
The rest of the score though, idk I'd have to take another listen.
 
 

As more of a snippets/moments guy, personally I think there's nothing in the End Credits that can top the build-up and release of the Main Theme in the 1st track. It's like one of the most epic sounds I've ever heard. This is why I hate rating tracks and pieces, it's much more reasonable to compare snippets (like 10 sec of your favorite moments from music.) Every piece is made of great sounds, and each sound is its own thing to compare and value. A piece at every moment can bend into other many possible variations, so the whole doesn't matter as much as how each sequence flows into the other.
 
It's like why I think the Leia's Theme double-melodic moment of the Star Wars Main Theme Suite is the best thing Williams has ever written.