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Time for a good ol' fashion poll


indy4

Which of these scores are the best?  

33 members have voted

  1. 1. Which of these scores are the best?

    • Indiana Jones and the Kingdom of the Crystal Skull
      2
    • The Adventures of Tintin
      11
    • War Horse
      20


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It's been awhile since we've done one of these. The topic is JW's film scores written during his semi-retirement (2008 and on).

I'd rank them like this:

1. War Horse

2. KotCS

3. Tintin

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1. Tintin.

2. War Horse

3. Indy 4.

The reason why Tinting comes first is because it is a much younger version of Spielberg adventure than Indy 4 and it works bette in the film than WH (which is better as pure music).

Karol

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I like all 3 scores, but I definitely go back to War Horse a hell of a lot more than the other two. Less than a year after its release, I think I would honestly include Joey running through No Man's Land as one of the top ten great Spielberg/Williams moments. Definitely top fifteen, anyway.

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War Horse by a mile. Tougher for me to choose between the other two, but Tintin would most likely come out ahead overall, and it definitely would win in the creativity department.

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I have to say Tintin for me! War Horse is a very close second. As for KotCS I think my dislike of the movie effected my judgment on the score but to me it's like the Chamber of Secrets, I pretend it doesn't exist haha.

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1) War Horse

2) Tintin

3) KOTCS

There is a very tiny margin between War Horse and Tintin. A rather large one between Tintin and KotCS though...

But they're all good scores.

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1. War Horse

2. Tintin.

3. Indy 4

I've come around. I consider WH to be better now (at least for me). But Tintin is awesome beyond words too! Indy 4 is okay. Not bad, but not that great either, apart from a few standalone cues.

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Can't really decide. None of them are really that great. I wouldn't want to choose between any of them, frankly. I'd rather listen to his older stuff.

That!

The more quirky old stuff, that is. These 3 scores contain a lot of generic action cues. I've heard this so many times before.

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Tintin for me as I personally think its one of his best works and a modern masterpiece. Probably the best score I have heard since Ponyo.

War Horse is good but a very fragmented listening experiecence. The first and last thrids are completely different from the middle portion making it very disjointed. Also the WH themes are slightly simplistic and pastoral, not having the verve or imagintion of some of his best themes. But a nice work.

Indy 4 is also an enjoyable score. I would probably rank it second out of the 3.

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I prefer Tintin. It's a very creative score. It kind of goes back to his jazz roots, especially the main title cue. I was in love with it from the very first time that i heard it.

However, i must say that War Horse is a wonderful score as well. It fit the film very well.

i wouldn't say that KOTCS is a bad score, but it's too meaningless for me. There are some stand out cues, like the warehouse scenes, "The Jungle Chase", "A Whirl Through Academe", "Ants!", "The Departure", but i don't really like the rest. It's certainly not his worst score.

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I like KOTCS because John has some fun with the music. His ending of the end titles is just awesome. It's a delightful twist.

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Absolutely. One of his most interesting End Titles in a looong time. The end statement of the Raiders March still gives me chills.

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I prefer War Horse by a mile.

Tintin I respect as a score, but it's not my style for the most part.

KotCS has some amazing parts, but also has many parts that bore me to death.

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Yeah, that part of KOTCS is good and right at the end. Much of the score is quite boring and by-the-books as far as Williams music goes. KOTCS has some of the most uninteresting music for a JW blockbuster.

There is fun to be had in Tintin, but I still rarely go back to it outside certain tracks. Tracks. I haven't listened through the thing since around the time it came out.. Same goes for War Horse. I don't know what the deal is.

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I could do without the corny comedy ending of KotS End Titles. It suits the movie, which is the problem. What happened in the time between Raiders and this? The tone of those last few seconds doesn't feel like an Indiana Jones movie to me, it feels more like fluffy Young Indy score.

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The more quirky old stuff, that is. These 3 scores contain a lot of generic action cues. I've heard this so many times before.

Comments like these have become so much more generic than any Williams score could ever be.

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The more quirky old stuff, that is. These 3 scores contain a lot of generic action cues. I've heard this so many times before.

Comments like these have become so much more generic than any Williams score could ever be.

A worrisome evolution. It doesn't need to be so.

Anyway, you are obviously a blind fan. I am not. I'm happy he still writes music but I regret his choice to work only for Spielberg. I just watched Tinker Tailor Soldier Spy and wished Williams would do these type of movies. Now, I'm going to say something that you will not understand but an artist should be picky about the projects he chooses, not about the people.

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99% of the people here couldn't be happier with the path Williams took. It's made him more than just an artist - it's made him revered like no other, peerless, an icon and a living legend. Poor you and your 1%.

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I wish Williams would write for people besides Spielberg too. What was the last one, Memoirs Of A Geisha 7 years ago?

It's great if you find long-time collaborators, but to work exclusively with them? Seems like limiting yourself from some interesting opportunities. Hopefully Giacchino breaks his rule of only working with friends, I feel like he's already hit his peak.

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What's your point? Morricone chooses to keep working, good on him.

People acting like Williams never wrote for anyone else after meeting Spielberg are full of shit.

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What Quint said. Williams has had a one of a kind career. It is only fitting that he limits his scoring assingments to Spielberg nowadays. It provides a nice coda to his succes story. Williams deserves more 'blind fans' like me. The true blind among us are those who can't take a bird's eye view on Williams' total output and keep whining about his latest music being 'generic'.

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What's your point? Morricone chooses to keep working, good on him.

People acting like Williams never wrote for anyone else after meeting Spielberg are full of shit.

My point is that age has nothing to do with it. Besides I never said nor implied your second comment. I feel Williams' music has become run-of-the-mill over the past 7 years, with War Horse taking a nice step in the right direction. I have high hopes for Lincoln, been waiting for that one since it was announced, but it'd be nice if he did a couple other films while he does his concert work between Spielberg projects.

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Age has EVERYTHING to do with it. The man is eighty. That you have no concept of what I'm getting at is... expected.

Yeah, but Koray reasons: "If one man [Morricone] can do this and that at age 80 then ALL men can do this and that at 80". Hence his absurd generalization: 'Age has nothing to do with it.'

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at Williams age he has a right to chose when and how he wants to work. I believe it was Miguel A who said Williams wants to work on HIS own compositions and if that's what he wants to do that's what he should do.

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