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Track 18 "Departure"


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What does everybody think of this track?

I think this is one of the best. This is so exhilarating and alien-sounding and mind-boggling, it's so like Close Encounters of the Third Kind, but also different. I guess the subtle Raiders March quote makes it different. My only regret is that this is only 2 and a half minutes (on the album, at least). This works great, really great . . . on the CD as well as in the movie. My favorite moment is at 1:58 when the trumpets go wild . . .

Two thumbs up for "Departure"!

P.S. Whoops, this is actually track 18. Moderator, could you please correct the thread title? thanks.

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It starts out sort of uninteresting. But once it starts buildling, right at about 1:26, until it climaxed at the brillinat statement of the Skull's theme, with a glorious finish, it is spectacular. I agree about CE3K--it has the same sense of awe and amazement. Also reminds me of HP, just because of that finish after the grand statment.

Definetly a great piece.

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The Skull theme climaxes a la Close Encounters. Sheer brilliance. This track, as well as the Skull Theme in general, needs to be heard a few times before one can understand what's going on there. (Or maybe you can just get high and understand it the first time. But I don't do that).

JW needs to find the holy grail so he can live longer and continue scoring films. The more I listen to KOTCS the more I really love and appreciate it. Same was true of TLC.

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JW needs to find the holy grail so he can live longer and continue scoring films. The more I listen to KOTCS the more I really love and appreciate it. Same was true of TLC.

Yeah, same here. This album keeps getting better with each new listen!

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With regards to some of the comparisons here, I have to say that as much as I like this track and the thrilling climax of the skull theme, it by no means approaches the greatness of the finale from Close Encounters.

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With regards to some of the comparisons here, I have to say that as much as I like this track and the thrilling climax of the skull theme, it by no means approaches the greatness of the finale from Close Encounters.

Well, that's because the KotCS the movie's ending doesn't approach the greatness of the Close Encounters the movie's ending, either.

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With regards to some of the comparisons here, I have to say that as much as I like this track and the thrilling climax of the skull theme, it by no means approaches the greatness of the finale from Close Encounters.

Well, that's because the KotCS the movie's ending doesn't approach the greatness of the Close Encounters the movie's ending, either.

with the exception of ET, no SS films ending approaches the greatness of the Close Encounter Ending.

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With regards to some of the comparisons here, I have to say that as much as I like this track and the thrilling climax of the skull theme, it by no means approaches the greatness of the finale from Close Encounters.

Well, that's because the KotCS the movie's ending doesn't approach the greatness of the Close Encounters the movie's ending, either.

with the exception of ET, no SS films ending approaches the greatness of the Close Encounter Ending.

Hmmmm, you might be right there...

But the endings of Raiders and Jaws aren't too shabby, either.

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Well, that's because the KotCS the movie's ending doesn't approach the greatness of the Close Encounters the movie's ending, either.

That's weak reasoning. Because an ending is lame (which it's not IMO) doesn't mean the music needs to be lame.

Yeah, same here. This album keeps getting better with each new listen!

I'm sorry I can't feel the same way. I really am.

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I'm sorry I can't feel the same way. I really am.

Hello Fatty,

There's no way to say this without sounding like a smartypants, so I apologize for that, and I don't mean to sound rude: If you are disappointed by the movie, it should be of little surprise to you that you are not totally inspired by the soundtrack.

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Well, that's because the KotCS the movie's ending doesn't approach the greatness of the Close Encounters the movie's ending, either.

That's weak reasoning. Because an ending is lame (which it's not IMO) doesn't mean the music needs to be lame.

I don't think so. If an ending is mind-bogglingly good ("Oh my God, wow!!!"), it's certainly easier to write music which will have the same impact. Like mentioned, E.T., CEO3K are the best examples. It's all about the package.

Yeah, same here. This album keeps getting better with each new listen!

I'm sorry I can't feel the same way. I really am.

You don't need to be sorry. I feel sorry for you. :lol:

The score, however, remains uninspiring, and robs the movie of some serious WOW moments.

I don't know you well since you're quite new here, but it appears to me like you're the victim of "too high expectations." What did you think of the other recent JW scores? RotS, PoA, WotW, Memoirs, and Munich???

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I love this cue. The final part with the galloping brass gave me one of those shivering *woooooww* moments when I first heard it. When I recognised the brass was starting in the cinema I was just waiting for the final part... then Burtt goes and buries it underneath his stupid SFX.

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I'm not dissapointed by KOTCS anymore after my second viewing, like I said in another thread.

The score, however, remains uninspiring, and robs the movie of some serious WOW moments.

Hmm interesting. I have no explanation for that.

Food for thought: The second half of this track would have been the perfect main theme for the Narnia series. Laugh now, but I dare you to start at 1:15 and listen, envisioning a Narnia trailer, complete with children and Lion. It would have worked seemlessly!!!

edit: SEAMLESSLY, meat head!!!

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You know, this score is full of moments like the one at 1:00-1:15. I love the chords Williams plays at there, but he lets the music just taper off. There's no realization of the music like you would find in, say, "Miracle of the Ark."

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It sounds like one of Williams concert fanfares that builds without any payoff.

To me those Williams concert finales have been otherworldly revelations. Maybe it's because I experienced some of them first live, as the energy in the air is astoundng.

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I really LOVE the last minute of this cue! It has a kind of A.I. vibe, but when it reaches the climax, Williams shows he's still at the top of his game.

Hmmm, yeah, A.I. . . . and Close Encounters.

Williams is so good at this kind of stuff. When you listen to this, you almost wanna believe aliens really exist and the legend actually happened . . .

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It sounds like one of Williams concert fanfares that builds without any payoff.

To me those Williams concert finales have been otherworldly revelations. Maybe it's because I experienced some of them first live, as the energy in the air is astoundng.

I guess it didn't come out right, I enjoy Williams concert pieces but this cue in particular feels like it builds with no satisfying climax.

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I don't think so. If an ending is mind-bogglingly good ("Oh my God, wow!!!"), it's certainly easier to write music which will have the same impact.

That's unquestionably true. But it doesn't automatically create great music. Great scenes can still have mediocre music.

I don't know you well since you're quite new here, but it appears to me like you're the victim of "too high expectations." What did you think of the other recent JW scores? RotS, PoA, WotW, Memoirs, and Munich???

My expectations for Williams are always high, and save for Munich and KOTCS, he always fulfilled them. PoA is a masterpiece, as is WotW in a wierd way.

I guess it didn't come out right, I enjoy Williams concert pieces byut this cue in particular feels like it builds with now satisfying climax.

It builds into the Skull theme, the problem is just that the Skull theme is not suitable for such a mindblowing moment.

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