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The Williams Whirlwind


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Yeah thats what I'm talkin bout! (Williams is a Boston boy isn't he, kind of?)

I'm talkin bout those crazy tracks, those storms of violent orchestral action that have occured in the last few years at the blessed pen of Johnny T, that made you get up and shout Williams is still the man!

I nominate The moon rising as the most progressive, dark, menacingly intense cue Williams has written post-95.

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It's a 3 way tie for me:

1-Chase through Coruscant (AOTC)

2-Anderton's Great Escape (Minority Report)

3-The Arena (AOTC)

Jango's Escape and Moon Rising are close behind.

All are classic Williams orchestral intensity.

Jamesyboy - who should also mention Tavington's Trap from The Patriot

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It's a 3 way tie for me:

1-Chase through Coruscant (AOTC)

2-Anderton's Great Escape (Minority Report)

3-The Arena (AOTC)

Jango's Escape and Moon Rising are close behind.

All are classic Williams orchestral intensity.

Jamesyboy - who should also mention Tavington's Trap from The Patriot

James, NONE of the cues you mention rival Williams cues from before 2000 when it comes to orchestral fury, IMO.

I'm talkin'about Visitor In San Diego, Ludwig's Demise, Incident at Isla Nublar, Hyperspace, Bug Tunnel and Death Trap, Slalon From Mnt Humol, The Desert Chase.

Can't think of anything Williams composed recently that matches that, although some stuff in Harry potter comes somewhat close.

Stefancos- who wonders what Alan thinks.

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The Chess Game -- Sorcerer's Stone

The Mecha World -- AI

Mr. Longbottom Flies -- Sorcerer's Stone

Opening titles -- Catch Me If You Can

In all four cases I almost literally jumped up in the theater and said "John Williams rocks!"

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Hello everyone, happy new year! While I do find many of the cues mentioned to be compelling, especially The Mecha World from A.I. and Peter's Rescue (not mentioned) from Seven Years in Tibet, I am finding Williams' film work to be less and less interesting (though The Float from CMIYC is fun) and his concert work more and more interesting and emotionally engaging. There are a few nice climaxes in TreeSong, which is a solidly good piece, and some nice climaxes on the Yo-Yo Ma disc. I especially like Heartwood on that one. But overall, I think his strength lies in music of subtlety these days. He now has a lot more to say with very few, very well-orchestrated quiet notes.

Five Tones, who thinks '02 was JW's best year since '93... ;)

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Leaving Ingrid, from Seven Years in Tibet

Chace Through Coruscant, AOTC

Catch Me If You Can

Dueling the Basilisk

and the second half of Hedwig's Theme is just amazing...I mean trully trully amazing.

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and the second half of Hedwig's Theme is just amazing...I mean trully trully amazing.

Yes,but more specifically for me the music in the 1st trailer of Sorcerer's Stone

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I would have to say that Tavington's Trap is a good example of those storms of violent orchestral action, and I would say that Call Of The Champions has a some good orchestral "attacks on the soul" it could be said.

~Conor

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Yeah, but Bill Ross probably did that one.

Stefancos-  :music:

Ah, no he didn't. He arranged some music, he didn't write any of his own.

And thankfully he wont even be involved in the Prisoner of Azkaban film, which by the way starts filming next month.

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