Hlao-roo

It had theme. Just not extremely leitmotif based. And you sound like no theme = bad music. It's true that the score was highly thematic.

"There's nothing wrong with the score, it is..."

I'm not sure, but English may be King Mark's second language...(after French?)

Jan A.P. Kaczmarek's Unfaithful, closely followed by T. Newman's Road to Perdition.

Yeah, what Marc said!

Actually, the real question is...what the hell went wrong with John Williams's score? People here love to talk about the times when JW "saved" Spielberg's a**...I think we can safely say it's almost the other way around this time.

One only has right to his opinion if it's a correct opinion.

Actually, the true origin of the James Bond Theme is smothered in controversy...many people now suspect that John Barry should share at least co-composer credit.

It's out of print but still readily available in a Barnes & Noble or Borders or what have you. It's a flabbergastingly low-key score (save "Follow Me" or whatever it's called), and I think it's one those rare examples in which a JW score is not only utterly unlistenable on album but is also only marginally a step above mere functionality in the picture. The first version of "Smoke Gets in Your Eyes" is probably the best track on the album.

Reminiscing...

Hmmm...JWFAN.COM was not quite around in 1998, although The Groovy Yak (Tim Perrine)'s John Williams Message Board (and site) most certainly was. I was there from early 1998 on, after having started collecting soundtracks in 1997.

I'm with Evan here, guys... Common sense plausibility isn't the equivalent of reality, and I think we've some historical precedents to back that up. You guys have remarkable faith in bureaucratic mechanisms of the U.S. government...

Well, that "old" part makes some sense from your perspective, but I suspect that a large portion of this board, were they to agree with the essential meaning of your statement, would have to alter that modifier.

We ain't doing any bashing; we're telling it like it is.

Of course, that'd prove fatal, leaving the film without even the semblance of consequentiality. AOTC represents misexecution at its worst, not because it trascends TPM in this respect, but because the opportunities foregone were all the more substantial.

Fine, bash away at Goldsmith, too, then. I'm hardly one of his biggest fans, but one thing I can say is that The 13th Warrior, The Haunting, Hollow Man, Along Came a Spider, The Last Castle, and The Sum of All Fears hardly "sound the same" (in the manner you guys are using the phrase), either. Stylistically, his action writing has become more predictable and homogeneous of late, but, then, so has Williams's. Actually, I think Goldsmith has been doing a better job of maintaining a stronger sense of filmic identity in his scores that Williams has recently (if you remember my post from a few weeks ago). Additionally, he, unlike Williams, seems to realize that busy-ness orchestrational complexity (particularly in action cues) doesn't necessarily contribute appreciably to a scene. P.S. Note that I excluded The Mummy from the list above. I think it's ridiculous that Goldsmith fans hail The 13th Warrior when it's largely interchangeable with his earlier 1999 score. However prolific Goldsmith has been, it doesn't excuse using a previous score as a direct template.

He doesn't go even that far, as I've seen...

Except that cynacist isn't exactly a word...

Hey, just like Williams!

Here's a good one: Figo Sadist

well now at least you know, and as they say knowing is half the battle. I ain't fighting any battle.

Bring back UniMaster, the voice of reason and equanimity, I say. Not to mention Filmmaker Mr.K and Frank Lehman (here I go again...)

Um...yeah. Since I don't find Figo's denigrating antics humorous, I must not have a sense of humor...that's it....

i wasn't vulgar,only direct. K.M. And hurtful.

Here's the link to Ricard's actual post: http://jwfan.net/modules.php?op=modload&na...ighlight=#27809