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"Anderton's Great Escape" and The Lost World


Ross

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I don't if the whole title will be read, so I post there the same question:

Why does "Anderton's Great Escape" remind me so much of The Lost World??

Especially the Visitor in San Diego part.

-ROSS, wondering

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uh oh. you can expect a post from Hlao-roo pretty soon. and he's right, the string base of Anderton's Great Escape is almost identical to Ludlow's Demise, but since Ludlow's Demise hardly even shows up in the film, i don't have a problem with it being in Minority Report. it works well anyway

tpigeon- who thinks that Anderton's Great Escape is a great cue

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Stefancos- dissapointed with that score.

Oh, but it's really very good. Especially the action music.

It is however, the only score that has made me think of JW as an old guy. This image of him flashed me, in which he was a senile old man composing new music but he doesn't even know what for. Just goes like "fanfarre here, strings here, oh this rather good, okay let's put some flutes here and, um, vocals, ummmm, here."

Thank God that's not so.

-ROSS, thinking that maybe JW doesn't remember most of the music he's written (unless he plays it in concerts) and so he's doomed to repeat it.

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It was mildly annoying in Potter, but there some other stuff plays on top of it. In MR, it's more prominent, and reaches Horner proportions. :wow:

Marian - who thinks Ludlow must be a zombie.

:) Star Trek V - The Final Frontier (Jerry Goldsmith)

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No, Morn. I think he's just writing the same music because he doesn't have the time to let his musical ideas develop, writing so many scores in the same year.

-ROSS, who thinks this would've worked better in the other thread.

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Oh, yes.

Moreover, don't you think that Lost World's LUDLOW'S DEMISE and Harry Potter's QUIDDITCH MATCH have the same theme?

Heh, isn't that what we've been talking about all the time? :jump: It's only a small part in the Quidditch track though, with other stuff on top of it. It's much more prominent in MR.

Marian - who will, if Williams continues to use that theme, make a Ludlow compilation. :biglaugh:

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-ROSS, thinking that maybe JW doesn't remember most of the music he's written (unless he plays it in concerts)

And you're absolutely right. Williams himself has stated that he never listens to his past scores, other than the concert arrangements during rehearsals and live performances.

and so he's doomed to repeat it.

Unfortunately, I'm 99% sure that's the reason.

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-ROSS, thinking that maybe JW doesn't remember most of the music he's written (unless he plays it in concerts)

And you're absolutely right.

All these years waiting for someone to say something like this, and I get it when I wish the most that I was wrong.

-ROSS, joking in the first part of that statement. Sadly, not in the second. LOL / :cry:

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Williams' new mature and post-modern style is really leitmotivs inside leitmotivs. Anderton's great escape is the best example of that. Each type of move on screen, it's all seperated and thrown into chaos.

Speaking of MR, I love the twirtling strings that appear late in the movie, you know 1-2-3-4-3-2-1-2-3-4-3-2. It's also found in AOTC, when they return to Tatooine. In MR the music was way up on the soundscape, you could really hear it thanks to Spielberg who understands JW's role compared to Lucas and Ben Burtt's bad decisions in the editing room.

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Williams' new mature and post-modern style is really leitmotivs inside leitmotivs.  Anderton's great escape is the best example of that.  Each type of move on screen, it's all seperated and thrown into chaos..

"Anderson's Great Escape" is hardly "new [and] mature." It's patchwork, complete with unappreciably differentiated highlights from The Lost World (not simply "Ludlow's Demise" or "Visitor in San Diego"), from Jurassic Park/The Phantom Menace, and from The Patriot. It exemplifies Williams's increasingly frequent failure to imbue his new works with a keen sense of filmic identity.

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Well that's exactly what I said, it all started in 1997. To say they are hacked cues from other previous scores of his is way too simplistic I say. His action cues have increased in complexity in gigantic proportions. :)

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No, Morn. I think he's just writing the same music because he doesn't have the time to let his musical ideas develop, writing so many scores in the same year.

-ROSS, who thinks this would've worked better in the other thread.

How does this explain how often he used the hyperspace cue in the 80's and early 90's?

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How does this explain how often he used the hyperspace cue in the 80's and early 90's?

Can you give an example? I really can't think of any right now.

-ROSS, who thinks the IntelInside jingle motif could a good villain motif if played slowly. :angry:

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Well, I've heard it in The Fury, Fast Streets Of Shanghai in Temple of Doom, I think there is some in Home Alone and even in the lost world in Vitor in san deigo.

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I may have mentioned this before, but right when Malcolm and Harding are jumping off the ship at the end after stowing the baby Rex in the cargo hold, the base of that music is identical to the music during the Quaffle scores of the Quidditch game of Harry Potter. See if you can pick it up.

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Yes, it was mentioned before.

Let me add one more similarity:

Amistad, 4th track: Cinque's theme. 2 minutes and 22 seconds. It seems like Angela's Ashes. Listen to it, and you will understand.

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No, Morn. I think he's just writing the same music because he doesn't have the time to let his musical ideas develop, writing so many scores in the same year.

-ROSS, who thinks this would've worked better in the other thread.

How does this explain how often he used the hyperspace cue in the 80's and early 90's?

Now this is oversimplification. I'm not referring simply to Williams's melodic tendencies...

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