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Posts posted by Hlao-roo
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So are you trying to say that these days Williams sucks more than Goldsmith? I don't think Williams sucks at all... I think he is clearly still at the top of the game. But clearly we are on different boats when it comes to that. So, let me get into your boat... let's assume that Williams sucks now. Even with that assumption (because it is really an assumption and not true), I think you'd agree with me that within the past 5 years Williams has not released a score as dull and as quality deficient as Goldsmith's "Along Came a Spider." In fact I am saying 5 years just because I am in your boat, if I were in my boat I'd say that Williams has never released such a bad score in his entire career!
Yeah, well, right now, your boat is sinking, and there's no let-up in sight.
Sorry, comrade...
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Well, actually, when I heard it...I thought Williams's career was pretty much over...
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Yeah, well, if they got any lusher, they'd overwhelm the picture...toning it down was the right move.
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It has some great melodies and one of Williams's better songs...if you like that sort of thing, get it.
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Hmmm...they're not accurate...and yet they're not wrong...is that possible?
But whatever...it doesn't matter...this is a pointless debate, or whatever it is.
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8O
I do not understand how you can rate the scores that low
Well, if he considers recent Williams not nearly as good as 1977-1984 Williams, then it's not so surprising.
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For me, although the nineties, if we are to use the slightly arbitrary decade marker, is my favorite period for JW compositions, I can't really single out any score I could call "classic."
I love just about everything Williams wrote other than Stanley and Iris, which could be considered eighties, and Presumed Innocent, of which I liked only the main theme.
I have to say again that 1998, with Saving Private Ryan and Stepmom, to which I'm currently listening, is my favorite.
-Alan
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I know why I missed it. I trusted the FSM Friday column and they got it wrong!
http://www.filmscoremonthly.com/articles/2...core_Friday.asp
Too bad, FSM, too bad.
I guess we've learned a little lesson here, eh, Ricard?
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Hey, did Ricard ever report this?
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Should, but wouldn't.
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Look, the point is: Jerry Goldsmith sucks.
Case closed.
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As has been said before...read the annotated screenplays: you get the impression that Kershner was responsible for a myriad little touches that made Empire so great.
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Just rented "Harry" again the other night. The score's better than I had previously given it credit for. Now even I'm a little disappointed at the news, which I wasn't before. :cry:
40 minutes is not bad!
I think they should release 70+ minutes of Ross-only material (not counting the JW themes).
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...I thought it was self-consciously iconoclastic.
Whatever, either way, it's over my head.
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Goldsmith's The 13th Warrior was used in the second half of the second trailer.
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John Williams didn't do his job, either. He was hired as a composer, not as a hack.
Were you being sarcastic?
If you weren't, what the hell are you doing in a JW mb?
I wasn't being sarcastic.
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Wasn't The Patroiot released in 2000?
Anyway, didn't you like AI Hlao-roo?
I loved "Monica's Theme" (which I very nearly consider one of JW's classics) as well as the music for the Blue Fairy and for David. "Abandoned in the Woods" is one the most powerful film/music montages I've ever experienced.
But, I'm not a fan of the score as a whole -- there's too much Always in it.
As with Jurassic Park, JW can write classic melodies, but it doesn't mean I'll love the score.
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I can listen to it but it's not my favorite, although I do enjoy the beautiful rendition of Shmi's Theme in "Sean by Agatha". Overall, I think Harry Potter and Attack of the Clones are superior scores, but I tend to like the more thematic, melodious scores better.
Hey Dole, there's plenty of melodies and themes in this score. Just not as blatant as the typical Williams score:
The Pre-crime motif
Sean's Theme
Agatha's/Anne Lively's Theme
Spyder's Theme (awesome!)
Running Theme (though not a major theme)
Once you identify them, you'll find them everywhere in the score.
Yeah, quantity, not quality.
No, just don't jump at you.
Yeah, instead, they slink away into obscurity because they're so ashamed of having been composed at all.
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I'm sure there are reasons that people like it that stem from that the fact that George Lucas didn't helm it the way he did TPM, but I doubt that his decreased involvement in itself is the reason why many people consider it the best movie in the saga.
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Hilarious!
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Since I no longer regard Schindler's List as a film score as I think it rightfully belongs to the classical music genre
That is the dumbest thing i have ever heard in my life.
It's film music, it will always BE film music.
End of discussion.
Stefancos- :roll:
You're wrong, Stefan. Schindler's List stopped being a film score YEARS AGO. It's just part of the inexorable cycle of life.
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I can listen to it but it's not my favorite, although I do enjoy the beautiful rendition of Shmi's Theme in "Sean by Agatha". Overall, I think Harry Potter and Attack of the Clones are superior scores, but I tend to like the more thematic, melodious scores better.
Hey Dole, there's plenty of melodies and themes in this score. Just not as blatant as the typical Williams score:
The Pre-crime motif
Sean's Theme
Agatha's/Anne Lively's Theme
Spyder's Theme (awesome!)
Running Theme (though not a major theme)
Once you identify them, you'll find them everywhere in the score.
Yeah, quantity, not quality.
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Nothing John Williams has composed this millenium can touch The Patriot.
That may be the way you feel, but considering that in the new millenium there have only be 4 scores so far its not a big comparison.
Why you chose the John's last score of the 20th century to compare to the new millenium scores is beyond me. I would hope you are not making the mistake of calling Patriot a new millenium score. As I said it is the last JW score of the 20th century, make no mistake.
My name is Tom and don't you forget it.
Potter, where are you, I am waiting?
As I said, nothing Williams has written this millenium can touch The Patriot. That statement obviously (except to you, apparently) acknowledges the fact that The Patriot was written last millenium.
And I'm comparing them because that happens to be the last JW score I with which I was particularly impressed.
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John Williams didn't do his job, either. He was hired as a composer, not as a hack.
OT: Chaim Potok, 1929 - 2002
in General Discussion
Posted
The Chosen, The Promise, My Names is Asher Lev... a few of a fine parade of novels from a writing career that spanned nearly four decades.
His simple yet elegant prose, wrapped in the garb of Jewish theology, was in fact universally relevant -- his fiction spoke to those of all faiths.
Critics, favoring cynicism and misanthropy over a profoundly realistic faith in humanity, tended to dismiss his works as inconsequential. : (
Myself, I've never found another writer who put so much heart, soul, and compassion into his writing, and his books will remain on my shelves to be read again and again...