Nick Parker

Toadstool Tour was awesome, let's see if this holds up to my frothing anticipation of 18 years!
 
 
 
Also, I hope Nintendo continues to use house moms to narrate their game trailers.

I saw that earlier this week.  I think I lasted a whole minute before I closed it.

Not that writing a "compassionate" score is the only alternative, of course. Taxi Driver is a very rich score, for example, that does so much. It gives the down to earth bustle of NYC a larger than life presence as Bickle's manifested hell and purgatory. The theme has a longing for innocence and romance that is like a landmark we hear to see just how far Bickle's plummet into madness goes, until the theme itself drops down with him at the climax.
 
For Joker, I thought it would've been really cool if they took an approach similar to Shirley Walker in the animated series:
 
 
The juxtaposition between the sitcom breeziness of the music with Arthur's increasing disillusionment and insanity would've been so badass!

The approach Williams took for Irina really isn't that different from Indy if you think about it: the music is bright and heroic, which are not traits you'd really give to the character, particularly in Raiders. However, the theme perfectly encapsulates the experience they (Spielberg and Williams) wanted to give to the audience, and there are multiple times where Indy personifies this feeling of adventure and heroic feats...if adventure has a name?
 
Irina?...Williams was just trying to find something to latch onto, 'cause there are practically no instances outside of the opening sequence,  as said above, where she displays any sense of seduction, nor does the film capture that tone at all. Plus, Williams found her sexy.

Not that writing a "compassionate" score is the only alternative, of course. Taxi Driver is a very rich score, for example, that does so much. It gives the down to earth bustle of NYC a larger than life presence as Bickle's manifested hell and purgatory. The theme has a longing for innocence and romance that is like a landmark we hear to see just how far Bickle's plummet into madness goes, until the theme itself drops down with him at the climax.
 
For Joker, I thought it would've been really cool if they took an approach similar to Shirley Walker in the animated series:
 
 
The juxtaposition between the sitcom breeziness of the music with Arthur's increasing disillusionment and insanity would've been so badass!

Jim Nova (https://jimnova.com/about/) is a huge John Williams fan and is a trombonist in the Pittsburgh Symphony.  
 
I was looking at his YouTube page (https://www.youtube.com/user/jn1578) and came across this:
 
 
 
Fun video and a great performance!
 
----------------------------------------------------------
From the YouTube page
Turns out that many S.E. Shires trombone artists are huge football fans! So I decided to take my trombone arrangement of the NBC Football Theme, Wide Receiver, by John Williams (of course!) and expand it into a 10 part version! We all may root for different NFL teams, but we're all on the Shires Team!
 
Musicians
Joe Alessi
Megan Boutin
Jeremy Branson
Justin Cook
Brian Hecht
Ross Holcombe
Martin McCain
Jim Nova
Alexis Smith
Nate Zgonc
 
https://www.seshires.com/ourtrombones
----------------------------------------------------------

The approach Williams took for Irina really isn't that different from Indy if you think about it: the music is bright and heroic, which are not traits you'd really give to the character, particularly in Raiders. However, the theme perfectly encapsulates the experience they (Spielberg and Williams) wanted to give to the audience, and there are multiple times where Indy personifies this feeling of adventure and heroic feats...if adventure has a name?
 
Irina?...Williams was just trying to find something to latch onto, 'cause there are practically no instances outside of the opening sequence,  as said above, where she displays any sense of seduction, nor does the film capture that tone at all. Plus, Williams found her sexy.

Did I ever tell you that you know the way to my heart?

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

The scherzo has always given me major Jurassic Park vibes.
 
 
 
Let's look at what he says, when the interviewer asks about Williams' "Romantic aesthetic".
 
In other words, his natural  proclivities and instincts have _always_--and we can hear this multiple times with pieces such as Essay for Strings and Prelude and Fugue--leaned to the voice we hear in his concert work. So you're asking a person to forsake themselves so they can write something to appeal to a certain kind of audience. The film work he's done is an outcropping of what is a deeply personal voice, not the other way around. This isn't me being elitist, this is me drawing the conclusion from Williams' own words.
 
And as several of us--including Williams in this very interview--have pointed out, his film and concert music have overlapped with each other over the decades, to the point where you can recognize the time he worked on something by their similarities with another: Tintin and Oboe Concerto, Tributes and TPM, so on and so on.
 
 

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

I know whachu mean.
 
To address your question, @Edmilson,  I think an "evil" score would depend more on the life condition of the composer(s) beyond any subject matter or inspiration. To slightly expand on my initial post, I see one of the deep causes of evil to be a lack of empathy based on fundamental ignorances of the connectedness of life...and I'm drawing hella blanks on thinking of any music, let alone a movie soundtrack!, that feels, or as Not Me Nick posted, has a spirit, coming from that place.

I know whachu mean.
 
To address your question, @Edmilson,  I think an "evil" score would depend more on the life condition of the composer(s) beyond any subject matter or inspiration. To slightly expand on my initial post, I see one of the deep causes of evil to be a lack of empathy based on fundamental ignorances of the connectedness of life...and I'm drawing hella blanks on thinking of any music, let alone a movie soundtrack!, that feels, or as Not Me Nick posted, has a spirit, coming from that place.

Even though John Williams has scored plenty of tense or dark moments, I don't consider the vast majority of his music in those instances "evil". He has such a sense of underlying humanity that his music for these moments, consciously or not, capture a pervasive sense of compassion--something he actually explicitly comments on in the ROTS doc.
 
There's a huge difference in my mind between scoring evil and writing an evil score. I'm trying to think of a score that sounds truly, irretrievably brutal,  sadistic, and unfeeling.
 
 
Oh crap I forgot we banned the Oxford com
 
 
This pretentious asshole has been banned for 24 hours.
 

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

Even though John Williams has scored plenty of tense or dark moments, I don't consider the vast majority of his music in those instances "evil". He has such a sense of underlying humanity that his music for these moments, consciously or not, capture a pervasive sense of compassion--something he actually explicitly comments on in the ROTS doc.
 
There's a huge difference in my mind between scoring evil and writing an evil score. I'm trying to think of a score that sounds truly, irretrievably brutal,  sadistic, and unfeeling.
 
 
Oh crap I forgot we banned the Oxford com
 
 
This pretentious asshole has been banned for 24 hours.
 

The scherzo has always given me major Jurassic Park vibes.
 
 
 
Let's look at what he says, when the interviewer asks about Williams' "Romantic aesthetic".
 
In other words, his natural  proclivities and instincts have _always_--and we can hear this multiple times with pieces such as Essay for Strings and Prelude and Fugue--leaned to the voice we hear in his concert work. So you're asking a person to forsake themselves so they can write something to appeal to a certain kind of audience. The film work he's done is an outcropping of what is a deeply personal voice, not the other way around. This isn't me being elitist, this is me drawing the conclusion from Williams' own words.
 
And as several of us--including Williams in this very interview--have pointed out, his film and concert music have overlapped with each other over the decades, to the point where you can recognize the time he worked on something by their similarities with another: Tintin and Oboe Concerto, Tributes and TPM, so on and so on.
 
 

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

Even though John Williams has scored plenty of tense or dark moments, I don't consider the vast majority of his music in those instances "evil". He has such a sense of underlying humanity that his music for these moments, consciously or not, capture a pervasive sense of compassion--something he actually explicitly comments on in the ROTS doc.
 
There's a huge difference in my mind between scoring evil and writing an evil score. I'm trying to think of a score that sounds truly, irretrievably brutal,  sadistic, and unfeeling.
 
 
Oh crap I forgot we banned the Oxford com
 
 
This pretentious asshole has been banned for 24 hours.
 

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.

Even though John Williams has scored plenty of tense or dark moments, I don't consider the vast majority of his music in those instances "evil". He has such a sense of underlying humanity that his music for these moments, consciously or not, capture a pervasive sense of compassion--something he actually explicitly comments on in the ROTS doc.
 
There's a huge difference in my mind between scoring evil and writing an evil score. I'm trying to think of a score that sounds truly, irretrievably brutal,  sadistic, and unfeeling.
 
 
Oh crap I forgot we banned the Oxford com
 
 
This pretentious asshole has been banned for 24 hours.
 

Good thing John isn't seeking your input