The Evolution of John Williams

[indy4 155]

I disagree. The heroic/bombastic music of KotCS is just as good as that of Raiders, ToD, and LC in my opinion. The only thing that brings KotCS to a slightly inferior position is the fact that it does have a lot of "dead music," at least in comparison to the other Indy scores. The highlights of KotCS are just as good as the highlights of Raiders, ToD, and LC. Stylistically different, yes, but just as good.

Well, whatever, there's not much I can say to this... to me the best parts of KotCS are only a pale flicker compared to the roaring torch of the first three.

Then I'll agree to disagree here.

My favorite Williams score of the 2000s is A.I. While there's a little cinematic gloss, the heart of the score reveals a great sadness and even pessimism in Williams's outlook, as if he is coming to accept death. That's maturity. Writing the same old theme park rides over and over is not.

Which is why an evolving style should be appreciated creatively.

That's right, so why are you most interested in (as I said) the same old theme park rides over and over? Come on, tell me with a straight face that you're really looking forward to the Duo Concertante.

For the same reason that "theme park music" gets old to listen to, it gets old to write as well. Hence: John Williams' style evolves, which is what it has given us the different (but still good, IMO) sounds of KotCS.

No I'm not looking forward to Duo Concertante, but I do enjoy scores like A.I. that do not contain this "theme park music."

But I'm not quite sure what you're arguing here. Your "theme park music gets old" summary seems to be stating the fact that creativity is a good thing. We've already established that.

[Henry B 50]

KotCS = same old theme park music. Although there's a fairly minimalist flair to it, it's not a very profound flair.

[indy4 155]

KotCS = same old theme park music. Although there's a fairly minimalist flair to it, it's not a very profound flair.

And how else would you approach an Indiana Jones film?

[Henry B 50]

I say "same old" because that's what Williams's efforts suggest. He just doesn't seem to care about this blockbuster stuff anymore.

[indy4 155]

I say "same old" because that's what Williams's efforts suggest. He just doesn't seem to care about this blockbuster stuff anymore.

Well when you're reviving an old series, and the goal of the film makers is to be as faithful to the originals as possible, I don't think a composer should try to "branch out" too much. Sometimes the "same old" is needed to bring back the nostalgia KotCS attempted to.

But for other blockbusters, JW took different approaches. PoA and MR are two examples of blockbuster films where JW branched out musically and tried some new things.

You can't claim that because KotCS had elements of the "same old," JW doesn't care about blockbuster stuff. In this particular instance, it was better to try something familiar and unoriginal, but when it would be acceptable, JW has branched out often for blockbuster films.

[Henry B 50]

Wait, are you saying that the original three films had the same musical style? I find them very different in tone despite the Raiders March as a unifying force. I just don't really see the style of KotCS. Sure, there are plenty of new themes, but there's never a moment that spectacularly defines the new style of the score. It's all about nostalgia for the old Indy films. The film, awful as it is, is decked in the campy tones of the 1950s. Why isn't Williams's score? He makes an homage to the old alien invasion movies of the time with the synthesizer in the Crystal Skull theme, but it's so slight and is used only a couple times. Why not some balls-to-the-wall theremin? Why is Williams's score so conservative? KotCS has the most absurd climax of all the films, so some out of this world, nightmarish music seems appropriate. But instead we get a very formulaic action piece in the same mold as Harry Potter action music or War of the Worlds or whatever followed by a generic fanfare.

[Morn 8]

Williams music reminded me more of ce3k than anything, with an action twist. I though that was the perfect approach.

I think the jungle chase is the best action cue in all of indiana jones, far more aggressive, rhythmic and modern than the previous scores.

[indy4 155]

Wait, are you saying that the original three films had the same musical style? I find them very different in tone despite the Raiders March as a unifying force.

They can be classified as the same musical style to a certain degree. Obviously you can say that they sound more alike to each other than they do to Images, so they must have some similarities. They all have a wide variety of themes. Themes for artifacts, characters, setpieces, and groups. They all contain brassy fanfares. They all have (some more than others) an aspect of light hearted fun to them. They all have a lot of "mickey mousing" throughout the score. . . . True they are not as similiar as, say, the SW OT scores. But I wouldn't call them very different.

I just don't really see the style of KotCS. Sure, there are plenty of new themes, but there's never a moment that spectacularly defines the new style of the score. It's all about nostalgia for the old Indy films.

I'm not really good at sticking a label on a style of music, so I couldn't really tell you what I think the style of the KotCS score is, but there are musical styles that are heard throughout.

The film, awful as it is, is decked in the campy tones of the 1950s. Why isn't Williams's score? He makes an homage to the old alien invasion movies of the time with the synthesizer in the Crystal Skull theme, but it's so slight and is used only a couple times. Why not some balls-to-the-wall theremin? Why is Williams's score so conservative?

Actually, as the film progresses, the theme becomes increasingly dominant in the score. My biggest beef with it is that many of the times it's used, it seems like it's tracked from the concert version. There aren't many variations of the Skull's theme, just rips.

KotCS has the most absurd climax of all the films, so some out of this world, nightmarish music seems appropriate. But instead we get a very formulaic action piece in the same mold as Harry Potter action music or War of the Worlds or whatever followed by a generic fanfare.

If you're referring to "Secret Revealed," I love it. It is definetly a bit hard to get into at first (compared to the other finales of the Indy films), but it really gets good once I did. I love the fast trumpet tonging, it sounds brilliantly like a spinning saucer. It has pulsing rythmns that sound like the flashing lights of a UFO. Notes that build on one another to create a wonderful dissonance, and layered on top--the Skull's theme, menacing and evil. As the scene cuts to Mac and his greedy ventures, we get the fast strings, creating a sense of increasing urgency--that he has to get out of there ASAP. Then swirling strings and the synthesized choir, which slowly picks up tempo as the spaceship does. Brass swells, and we get a final and wonderful variation of Irina's Theme.

I also love "The Departure." You say it should be nightmarish, but I disagree. At that point, the danger is over. Indy is just watching in a state of wonder at the beauty of the ship, not fright. It makes sense to have a final fanfare of the Skull's theme as it leaves, paying tribute to the Skull and thanking it for the magical moment. The music reflects this perfectly.

But please, let's not argue about specifics regarding KotCS. We can do this in any Indy thread, this one should be for discussing more general John Williams issues.

[Incanus 5,722]

Wow another "I am disappointed at the later JW scores and style" thread. Are you trying to prove something Quint? That because you do not like JWs later scores and do not feel the magic, everybody else should be of like mind? Have you lost your god in a way? JW does not provide you with a new fix and you are still desperate for more?

Also when you word your questions in a form that is sure to bring about the inevitable support for your own opinion it must be grand to watch the results and smile thinking: "I was right, goddamn I was right! I love being right!"

I hope we could focus on the positive and discuss the music we like instead this negative "JW sucks" stuff.

[Quintus 5,399]

Ha ha, don't be silly. Honestly, I do not invest that much emotion and feeling, when contributing here. Yes I created this topic to cause debate (which I see it gladly has), but if you knew anything about me you would know that I rarely say much here which amounts to anything more than a fleeting interest on my part. I post here for fun, not to learn or to be educated. I'm not on a crusade to convince anyone, since that duty is clearly in the keeping of plenty of other contributors here. I just like to have a laugh whilst talking movies and music. As for this thread, I've read some excellent responses, particularly from Alan, but more often than not I see people getting honestly upset that I dare to criticise your "God".

What gives you and maurizio the right to translate my criticism into "Quint, loose the I'm mightier than thou attitude"? If you don't like the apparent fact that our opinions contrast greatly on this subject, then wouldn't the best approach be to argue your corner WITHOUT the use of petty and frankly laughable "who are you to say anything about Williams?" lines of personal attack. The fact that you assume I do not like Williams' later stuff could, if I felt so inclined, add further insult. But funnily enough, I don't really care about that.

Really, aren't there more pressing things to get angry about? So I think JW is a bit lacking lately. So what? Chill dude.

[Neimoidian 14]

The way I see it, John's adventurous music and the action stuff can hardly match what he was doing in the 70s, 80s and even 90s. It's still well written, but lacks the spark and it doesn't excite me the way it used to. Some scores like WotW or Minority leave me cold for the most part and as much as I try, I find little to enjoy there. Other scores - like last two Star Wars installments or KotCS - are hit and miss, in my book. I find there cues that are terrific, some of which stand up to his 70-80s writing and some other represent what is the best in modern Williams (like previously mentioned Secret Revealed from KotSC), but there is also a lot of dull material or incidental at least.

Still, if one looks at John's recent output, there are lots of interesting works to listen, too. In many ways, the projects he has done recently are different than these from 20 years ago - this could not affect the sound of the music. Many of these don't require writing exciting music, but merely a very good music and so Williams does. We have drama scores unlike the ones from his golden age (and argualby better) - Munich, Memoirs, A.I. We have a great comedy score - The Terminal (which in my opinion is way better than his earlier comedy works)... There is wonderfull jazzy CMiYC, magical Prisoner of Azkaban and his concerti and non-film compositions (The Soundings is by any means awesome)

[Luke Skywalker 1,798]

I agree with it all... except for the creativity part. He's not writing groundbreaking works at nearly the speed he used to (or at all - unless this Duo Concertante is great, I will consider his latest "creative" work Memoirs of a Geisha). Why? Because he's an old man, for God's sake. People slow down and fade away. That's life. Really, don't get me wrong, I still like most of his music and I was eager to do DVD rips of KotCS and all that but it just isn't as good as the old stuff. Good... just not nearly as good.

My favorite Williams score of the 2000s is A.I. While there's a little cinematic gloss, the heart of the score reveals a great sadness and even pessimism in Williams's outlook, as if he is coming to accept death. That's maturity. Writing the same old theme park rides over and over is not.

I found that very contradictory. You say he is not writting groundbreaking stuff as he used to be.

But from certain point of view, one could say that he spent the 80's (the peak of his carrer for many) 'Writing the same old theme park rides over and over again'

So its the 90's 2000's when he is more creative, as he has touched more diverse genres and styles.

[BLUMENKOHL 1,068]

Doing different things does not equal creativity. It can help find creativity, yes, but it is not creativity.

He's stuck in his ways, as it happens with old age. If you doubt it listen to his three BEST scores of this decade...

Harry Potter and The Sorcerer's Stone

Memoirs of a Geisha

Harry Potter and the Prisoner of Azkaban

Those were the only three where Williams stepped outside of the Lucas/Spielberg sphere of influence (Geisha = barely so). And of those three, the best one came from Alfonso Cuaron, who was never satisfied, who never said "just do what you do Johnny," who kept pushing John Williams to create something truly different that also carried the message of the film. It also drove John away from the Harry Potter series, but that's a different story.

In everything else we see him going through the numbers, spouting regurgitated materials with more flourishes and ornamentation. But there is really nothing that differentiates his scores of late.

For instance what differentiates the set piece of Indy 4, "Jungle Chase," from anything out of the Star Wars prequels? There is nothing inherently JUNGLE about it, for all I know it is accompanying the Battle Over Coruscant, or a duel between Obi-Wan and Anakin.

Compare that to "The Desert Chase" it FEELS like a desert, it is lonely it builds upon itself, it contains a narrative that is inseperable from the Desert Chase. Listen to The Mine Cart Chase....it sounds like a roller coaster.

I can sum up the difference in creativity between the two time periods right here:

The Desert Chase is desert chase music. Jungle Chase is chase music.

[oierem 153]

The Desert Chase is desert chase music. Jungle Chase is chase music.

Any MUSICAL argument to support that?

[#SnowyVernalSpringsEternal 10,265]

Music is all about emotions, and if that's the way he feels....

[oierem 153]

That's not a reason to say that Desert Chase is desert chase music.

[#SnowyVernalSpringsEternal 10,265]

That was not his point.

The point was that Desert Chase feels unique, bespoked for the tempo, time, place and feel of that particular scene.

The Jungle Chase feels like modern era generic John Williams action music.

[oierem 153]

You can argue that Desert Chase is written 100 times better than Jungle Chase, it has a better structure, better instrumentation.... whatever.

But you can't say that Desert Chase is desert chase music because you feel it that way. I could say the same about Jungle.

[Romão 2,274]

You can argue that Desert Chase is written 100 times better than Jungle Chase, it has a better structure, better instrumentation....

But it's not

[oierem 153]

Well, I haven't done a deep study of those two pieces so I won't say that....

[Romão 2,274]

The desert chase is a pretty neat piece of music and accompanies a classic and fondly remembered action sequence, but IMHO, it's very far from being one of Williams best efforts. It's predictable and revolves mainly around the costant renditions of two motives. Gimme something like the Battle of Hoth, Battle of Endor, The Belly of the Steel Beast, T-rex Rescue, Everybody Runs! or Jungle Chase any day of the week

[Quintus 5,399]

The Desert Chase is desert chase music. Jungle Chase is chase music.

Fantastic! Have a cookie

[Luke Skywalker 1,798]

Exactly Desert chase is:

ultra simple, barely used nazi motif x3-raiders march-generic fanfare-raiders march-generic march stuff-generic stuff 1-raiders march-generic stuff 1-raiders march-generic stuff-generic fanfare-raiders march-generic stuff 2-desert chase stuff per se-raiders march-desert chase stuff per se-raiders march-low key raiders march-final flourish

And please explain how desert chase sounds 'desert' because i dont have a clue what you mean.

I can't believe people are saying that Jungle chase is unthematical generic modern action music by Williams, since its one of the few thematic action pieces he has written in this decade. Not even the prequel scores have one like it. And that's one of the cues that why i think Williams still knows how to write vintage style. No senility at all.

Jungle chase is:

Marions theme-generic stuff 1-raiders march-irina's theme-russian theme-raiders march-generic stuff 1-raiders march-generic stuff 1-raiders march-irina's theme-generic stuff 2-irinas theme-generic stuff 2-irina's theme-adventures of mutt-irinas theme-adventures of mutt-desert chase and steel beast homage-adventures of mutt-desert chase and steel beast homage-adventures of mutt-desert chase and steel beast homage-adventures of mutt-irina's theme-desert chase and steel beast homage-irina's theme-adventures of mutt-raiders march mutt version-irinas theme-desert chase and steel beast homage-great concert like ending.

And now explain me where desert chase excels in thematic material.

[Henry B 50]

What is this simplistic notion that the quality of music is determined entirely by how "thematic" it is (e.g. how many times it repeats the same melodies)? I think KotCS used the Raiders March more than any of the other scores. Does that mean the Raiders March is the strongest in KotCS? No way...

[Luke Skywalker 1,798]

What is this simplistic notion that the quality of music is determined entirely by how "thematic" it is (e.g. how many times it repeats the same melodies)? I think KotCS used the Raiders March more than any of the other scores. Does that mean the Raiders March is the strongest in KotCS? No way...

you tell me, i'm not the one saying that KOTCS lacks thematic set pieces.

[Quintus 5,399]

Even though it does. The themes may indeed be there, but I didn't noticed them, sorry.

[Henry B 50]

What is this simplistic notion that the quality of music is determined entirely by how "thematic" it is (e.g. how many times it repeats the same melodies)? I think KotCS used the Raiders March more than any of the other scores. Does that mean the Raiders March is the strongest in KotCS? No way...

you tell me, i'm not the one saying that KOTCS lacks thematic set pieces.

And neither is anyone else. Only you used the word "thematic."

I know that KotCS is brimming with themes and that doesn't mean it's good.

[JoeinAR 1,949]

I see 10 people admitted they are not smart. The Great Eye asked a question that really cannot be honestly answered yes.

[Luke Skywalker 1,798]

Even though it does. The themes may indeed be there, but I didn't noticed them, sorry.

I'm sorry then. For your deafness.

What is this simplistic notion that the quality of music is determined entirely by how "thematic" it is (e.g. how many times it repeats the same melodies)? I think KotCS used the Raiders March more than any of the other scores. Does that mean the Raiders March is the strongest in KotCS? No way...

you tell me, i'm not the one saying that KOTCS lacks thematic set pieces.

And neither is anyone else. Only you used the word "thematic."

Nobody used thematic word because they spoke in the contrary terms.

They just said KOTCS action music is interchangeable generic music.

[Quintus 5,399]

Even though it does. The themes may indeed be there, but I didn't noticed them, sorry.

I'm sorry then. For your deafness.

Thanks for your understanding. I'm using ear drops at the moment actually, so hopefully the themes themselves will suddenly present themselves, come the big wax clear out.

[Luke Skywalker 1,798]

Even though it does. The themes may indeed be there, but I didn't noticed them, sorry.

I'm sorry then. For your deafness.

Thanks for your understanding. I'm using ear drops at the moment actually, so hopefully the themes themselves will suddenly present themselves, come the big wax clear out.

there's hope for you then

[DarkLord89 0]

I have to admit that I NEVER found anything special about "The Desert Chase", apart from its usage of the Raiders March. It is mostly an action cue that I always regarded as "fragmented" (unlike, i.e., "Scherzo for Motorcycle and Orchestra" or "The Mine Car Chase"). The fact that it was made up of three different cues smoothed this first impression a bit, but when I discovered that the change of cue didn't match the change of "fragment" I was just as upset as before. Basically it is nothing more than an action piece conceived as a quite generic confrontation between the Raiders March and the Nazi theme (which doesn't occur in any other contest apart from the Ark pursuit). The fast rhythm makes it clear that this confrontation is a chase, but nothing more. I agree that what makes this cue memorable is mostly the scene it accompanies; if RotLA was to be released in a few weeks, and we had just bought our new RotLA OSTs, we would have passed this cue as "generic" but we'd all have cheered this new, fantastic theme that is the Raiders March (pretty much the same critic that, respectively, "The Jungle Chase" and "Irina's Theme" got last May).

Nonetheless, I would say that this cue is what Williams had in mind when constructing the End Credits/concert arrangement, as the final march-like ostinato is the ACTUAL Raiders March ostinato heard in the End Credits (not the very first statement, but those that come after the first presentation of the B theme).

Oh, and by the way, I think that the opening of "The Mine Car Chase" is the same of "A Whirl Through Academe", just orchestrated differently (a single, staccato note followed by a not-so-short glissando). I'm fairly sure that played on the piano they would sound near the same. So, yes, "A Whirl Through Academe" DOES sound like "Panaka and the Queen's Protectors" or "Get 'Em, R2!", but hints of this "modern" style could be tracked down into Williams' earlier "style".

[Jessie Lohner 0]

Look, i'm very tired of this.

Stop talking nonsense bullsh*t.

[DarkLord89 0]

Plus, I see many people who define Williams' "modern" style as "minimalist".

I admit I have not clearly in mind every single meaning of this word, but I don't think that "Jaws" is much more flamboyant and richly orchestrated than what we have now. The only difference I can spot is that in his "modern" works Williams does not spit memorable themes into your face as often as he once did (the most praised '00 scores actually do that thing, just think about "Hedwig's Theme", "Sayuri's Theme" or "The Tale of Viktor Navorski"), but I don't see anything "minimalist" in this.

EDIT: Wikipedia article.

In art music of the last 35 years, the term minimalism is sometimes applied to music which displays some or all of the following features: repetition (often of short musical phrases, with minimal variations over long periods of time, ostinati) or stasis (often in the form of drones and long tones); emphasis on consonant harmony; a steady pulse; hypnotic effect; sometimes use of phase shifting where sound waves gradually move out of sync with each other.

Based on this definition of "minimalism", I could say that any action piece that involves ostinatos is minimalist. In this case, even the last section of "Desert Chase" (but even the "Jaws" main theme, or almost the whole "Hyperspace" from TESB) is minimalist, just as KotCS is minimalist for its hypnotic usage of the Skull theme.

By the way, I don't remember who said this and in what thread, but I think that's not that Williams "tracked" the Skull concert version into the score, but it's the other way round. I believe that the first third is derived from "Return", while the last third is from "Temple Ruins". The concert version is just written at the end of the score (in fact the concert version takes its time to fully complete the "Temple Ruins" Skull theme statements).

[QMM 4]

see, Darklord knows how to actually contribute something to the thread

[DarkLord89 0]

see, Darklord knows how to actually contribute something to the thread

I'm sorry, I know I have almost no sense of humor at all... but I don't catch the irony here... I do believe what I've just written in my two posts.

Matteo

[QMM 4]

see, Darklord knows how to actually contribute something to the thread

I'm sorry, I know I have almost no sense of humor at all... but I don't catch the irony here... I do believe what I've just written in my two posts.

Matteo

I was being serious Your posts were good contributions to the discussion

[BLUMENKOHL 1,068]

I'm sorry, I know I have almost no sense of humor at all...

There you have it. Modern Williams, approved by and endorsed by ROBOTS. Case in point.

'Nuff said.

[Desplat13 1]

What is this simplistic notion that the quality of music is determined entirely by how "thematic" it is (e.g. how many times it repeats the same melodies)?

Exactly. This is why I still love Williams newer, more modern and ostinato-based music. I think it is a very valid genre, and Williams does it well.

And to Joey, I didn't vote yes or no in this thread, because I don't think there is a good answer to the question.

[DarkLord89 0]

Glad to hear you're a robot as well, Colin...

Matteo

[indy4 155]

it FEELS like a desert, it is lonely it builds upon itself, it contains a narrative that is inseperable from the Desert Chase.

What?

The Jungle Chase has unique characteristics of its own. It has the bold trumpet fanfares that were left out in RotS for the most part (eg: Irina's Theme in the very beggining). It has two theme, Irina's and Mutt's, that are struggling to be the musically dominant ones. By this it tells a story through the music--who may be in the lead at the moment. The tempo matches the speeding cars perfectly. We get a fully developed Mutt's Secondary Theme as he swings on the vines, and in a glorious moment, it is combined with Indy's theme. There a great build up that is similiar to Belly of the Steel Beast, all leading up to a fantastic finish.

The Jungle Chase has all these others emotional aspects to it, it doesn't need to sound like a jungle.

[Delorean90 42]

I also don't agree that recent Williams music is terrible tripe that should be thrown to the dogs.

Who said such a ridiculous thing? You just put words into your own mouth man!

Sorry, you're right. Just a vibe I've been getting in this thread and elsewhere; my bad.

As to the whole "Desert Chase"/"The Jungle Chase" debate...well, "Desert Chase" is simply one of the finest eight minutes of not just action scoring, but any scoring, in film history, so there's kind of an unfair advantage there--there's a lot of fine action cues that wouldn't win against "Desert Chase."

Now, I agree with those who say "The Jungle Chase" is no more generic than any other Williams action/chase cues. I could certainly pick it out from a handful of action cues. Of course, for those who listened once or twice and said, "This is crap!" it may be a bit harder. If we're going to play the generic card, then "The Ugha Warriors" should really be the target. It makes me think of something like "The Great T-Rex Chase"--it sounds a lot like Jurassic Park (but again, I wonder if that's more intense early 90s Williams brass than specifically JP).

I think indy4 is onto something with his analysis--it is doing its own thing. In the past people have complained about "Belly of the Steel Beast," too, again comparing it "Desert Chase," but totally erroneously. "It's so slow and lumbering!" And a tank is...slow and...lumbering...hmmm. Interesting. Additionally, it's more a rescue cue, an attack on a pirate ship, only this pirate ship happens to be a German tank. So it goes with "The Jungle Chase." It's a different type of sequence. There's a back-and-forth, a battle to capture the skull.

I still maintain that it's all closer to 90s Williams action a la Far and Away and Hook than modern Williams. Sure it has certain elements, but the overall sound to me is really as though it was the next phase of Indy scoring (as we've already established, each score had its own differences, big and small, from the previous efforts). And if we want to go the thematic route, I would say that "A Whirl Through Academe" has no less of a motif/theme than "The Nightclub Brawl."

I do think that there's less of a consistent richness throughout the score, and I think that may be what people are picking up on. Nonetheless, I think that there's good stuff people are missing out on. In playing the comparison/contrast game, people seem to miss out on the fact that, even beyond highlights like "Warehouse Escape" and "The Jungle Chase," there are little gems like "The Train Station," "Chauchilla Graveyard," and "The Real Treasure," that are quite enjoyable in their own right.

[Ollie 1,059]

There are times that I'm thankful that I don't have any true educational knowledge of music.

All I know I what my ears tell me.

For 30+ years I've been listening to Williams and I hear what I hear with every composer as they approach the end of their career. Good quality music that lacks the punch and freshness that their earlier works once had.

There's nothing wrong with it, doesn't suddenly mean it's awful. We see the same thing happen with directors, authors, athletes, cartoonists, actors etc etc., you can't keep doing everything great, time catches up with people.

Sure one can perfect their craft but it's the ideas that one comes up with that makes the music special. When I listen to "Desert Chase" I hear inspiration, excitement and a touch of magic. When I listen to "Jungle Chase" I just hear music. It's a quality composition but it lacks something.

[oierem 153]

Sure one can perfect their craft but it's the ideas that one comes up with that makes the music special. When I listen to "Desert Chase" I hear inspiration, excitement and a touch of magic. When I listen to "Jungle Chase" I just hear music. It's a quality composition but it lacks something.

And are you sure that the "inspiration, excitement and touch of magic" is because of the music itself?

[Ollie 1,059]

Jerry Goldsmith made it a habit of coming up with great music for crap and so did Williams at times.

[Koray Savas 2,251]

There's nothing wrong with it, doesn't suddenly mean it's awful. We see the same thing happen with directors, authors, athletes, cartoonists, actors etc etc., you can't keep doing everything great, time catches up with people.

In a lot of cases, yes, this is true. But not always. Kubrick was his best later on in his career, and all of Leone's work is amazing. I don't think Williams has declined at all. Munich is one of my favorite scores of his, and scores like Minority Report, A.I., Catch Me If You Can, and The Terminal are all top notch.

Everyone is just mad that Indy 4 wasn't anything special, and it wasn't, but that's 1 out of several.

[indy4 155]

Some people had made up their minds that they were going to hate KotCS, both film and score, before they walked into the theatre.

[Koray Savas 2,251]

I don't think that. I think people had their hopes too high, and were severely disappointed.

[Desplat13 1]

Glad to hear you're a robot as well, Colin...

Matteo

Us robots, we should stick together.

[Nick Parker 3,040]

I would like to thank Quint for creating such an interesting thread.