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John Williams: Unpopular Opinions


Bilbo

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8 hours ago, Fancyarcher said:

 

True, it's not bad, it's very well-composed, but a lot of it is dramatic battle music. The theme is great of course, but the rest of the score well-made as it is, just isn't the easiest to listen to on its own. 

There is no battle music in SPR unless I'm misremembering. All the battles are unscored on purpose. There are 1 or 2 tense cues that lead into a battle but most of the score is JW writing reflective, patriotic brass and horn stuff.

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2 hours ago, artguy360 said:

There is no battle music in SPR unless I'm misremembering. All the battles are unscored on purpose. There are 1 or 2 tense cues that lead into a battle but most of the score is JW writing reflective, patriotic brass and horn stuff.

 

Yeah, but it plays into the somber "sad" moments, so it becomes more of a reflective "patriotic" score. Hardly my favorite anyway. It's very well-composed, but it's one of those scores, where I may skip skip a handful of cues anyway, when I try to listen to it. 

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1 hour ago, Stefancos said:

Great film!

A film with a questionable but interesting basic plot. The battle scenes are THE most intense cinema experience of all time! Very subjectively depicted and therefore often criticized for dump caricartures of the Germans, war movie clichés and stupid patriotism. Honestly, guys watch the movie, that's bullshit! It's Spielberg, neither Mel Gibson nor Roland Emmerich!

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23 hours ago, Not Mr. Big said:

The statement of the Indiana Jones theme at 1:05 is the worst 5 seconds of Williams' entire career.  

 

What an unbearable piece of shit that film is. Worse, there are people on this forum who enjoy it and they're just allowed to post. Why don't you just DIE!

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19 minutes ago, Evil-Lyn said:

 

What an unbearable piece of shit that film is. Worse, there are people on this forum who enjoy it and they're just allowed to post. Why don't you just DIE!

Oh come now. There are far worse things. Like Masters of the Universe (minus Frank Langella's awesome hammy Skeletor).

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23 minutes ago, Evil-Lyn said:

 

What an unbearable piece of shit that film is. Worse, there are people on this forum who enjoy it and they're just allowed to post. Why don't you just DIE!

 

 

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2 hours ago, Evil-Lyn said:

 

What an unbearable piece of shit that film is. Worse, there are people on this forum who enjoy it and they're just allowed to post. Why don't you just DIE!

Even SW Episode I-III are much worse.

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Prequels exposed Lucas' limits perhaps but I don't think you could say he was lazy. 

 

KotCS was lazy though. Spielberg just didn't care. 

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11 minutes ago, Bilbo Skywalker said:

Prequels exposed Lucas' limits perhaps but I don't think you could say he was lazy. 

 

KotCS was lazy though. Spielberg just didn't care. 

When he clearly says in a documentary that Lucas endlessly bugged him about doing this film and finally he said yes basically to shut him up, you know he might not have been 100% enthusiastic. Plus ol' George wanted aliens and Steven gave up when Lucas kept offering "interdimensional people" to him.

 

But that said I really like the score. Aahhh Irina's theme.

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I love the interplay between Irina's theme throughout the latter half of the score. Then there's the lovely concert version!

 

Even though people say KotCS was Williams in "Autopilot" I think there's still some stellar material in that score, even action material like The Jungle Chase is still engaging!

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It's an abhorrent album selection. I've been listening to a few cues from the recording sessions and there's actually lots of fun stuff I've never really heard outside the film (plus some great alternates).

 

But yeah, could he have assembled a worse OST? Track after track of monotonous underscore, and omissions like complete Jungle Chase, Stepping Stones, They Weren't You Honey, The Waterfall, lots of cool stuff in the Warehouse sequence, etc. That glorious crescendo at 1:25 in 2m6 Unpacking is vintage Indiana Jones writing from Williams.

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42 minutes ago, crumbs said:

It's an abhorrent album selection. I've been listening to a few cues from the recording sessions and there's actually lots of fun stuff I've never really heard outside the film (plus some great alternates).

 

But yeah, could he have assembled a worse OST? Track after track of monotonous underscore, and omissions like complete Jungle Chase, Stepping Stones, They Weren't You Honey, The Waterfall, lots of cool stuff in the Warehouse sequence, etc. That glorious crescendo at 1:25 in 2m6 Unpacking is vintage Indiana Jones writing from Williams.

 

He gets a bit spooked when he writes and records something really cool and thinks "who the hell would wanna hear this?"

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45 minutes ago, Sally Spectra said:

 

He gets a bit spooked when he writes and records something really cool and thinks "who the hell would wanna hear this?"

Yes he is weird like that sometimes. And he also thinks it is a stellar idea to include the concert arrangement of Raiders March on the album and omit the Raiders March heavy opening half of the Jungle Chase because who in their right mind would like to hear new variations on his heroic theme instead of the good ol' concert suite. Right?

 

But he is the Maestro we all know and love. Eccentric album compiling decisions and all.

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25 minutes ago, Incanus said:

But he is the Maestro we all know and love. Eccentric album compiling decisions and all.

 

Few would take issue with it if we didn't have to wait 2 decades for most scores to be expanded! :P

 

But yes, you highlighted another sigh moment of that OST. Can only guess he felt compelled to include it because most 'regular' people buying an Indiana Jones soundtrack expect to hear the iconic main theme. He obviously didn't feel that way when assembling TOD or TLC but maybe the 20 year hiatus gave him pause. Still, 5 minutes wasted on a 74 minute OST (for a pretty ordinary performance, no less).

 

Similarly, we're 6 sequels into Star Wars now and every single OST has included Main Titles and End Credits. At least the latter is intertwined with new themes!

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Just now, crumbs said:

Similarly, we're 6 sequels into Star Wars now and every single OST has included Main Titles and End Credits. At least the latter is intertwined with new themes!

 

Key difference is that the Main Titles is a cue that actually appears in each movie.  The Raiders March track on KOTCS is the concert arrangement from 1981.

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8 minutes ago, Disco Stu said:

Key difference is that the Main Titles is a cue that actually appears in each movie.  The Raiders March track on KOTCS is the concert arrangement from 1981.

 

Very true. It wasn't re-recorded for the other sequels, so maybe it was just a Spielberg request.

"What did you say, John? We're having our first new Indiana Jones score in 20 years and you aren't recording the Raiders March? I want a new recording on the soundtrack!"

 

I doubt he'll bother for Indy 5 (touch wood). The damn credits start with the same music!

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51 minutes ago, Stefancos said:

You couldn't have a Star Wars release without the iconic main and end titles!

 

That is why  you Giacchino fails.

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  • 1 month later...
On 7/31/2017 at 11:56 PM, Brundlefly said:

It's Spielberg, neither Mel Gibson nor Roland Emmerich!

 

What on earth do Steven Spielberg and Mel Gibson have to do in the same sentence as Roland Emmerich?!

 

4 hours ago, Not Mr. Big said:

Schindler's List >>> Jurassic Park 

 

They exist in different plains: one is a summer entertainment film for kids, the other - a somber high drama for adults.

 

One could very well argue however, that the two plains are not created equal.

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Well, there's a deleted scene in Roland Emmerich's The Patriot starring Mel Gibson (music by John Williams) where a child watches bodies floating in the water which Steven Spielberg paid homage to in his film War of the Worlds (music by John Williams).

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Just stumbled this passive aggressive  statement in a rather unintentionally hilarious 1977 review of Star Wars by John Simon:

 

"John Williams's music is good when it does not heave too much"

 

We all know how much John likes his heaving.

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5 hours ago, Chen G. said:

 

What on earth do Steven Spielberg and Mel Gibson have to do in the same sentence as Roland Emmerich?!

 

Well Emmerich and Gibson are both able to sell patriotic nonsense (Beaveheart, Independance Day). But they are also able to stick to a historically credible impression (The Patriot, Apocalypto). They actually have pretty much in common.

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On ‎2‎/‎08‎/‎2017 at 0:28 AM, Bilbo Skywalker said:

 

That is why  you Giacchino fails.

Hey! He didn't have a choice, the blame lies with the people who decided against the crawl and music.

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6 hours ago, Brundlefly said:

Well Emmerich and Gibson are both able to sell patriotic nonsense (Beaveheart, Independance Day). But they are also able to stick to a historically credible impression (The Patriot, Apocalypto). They actually have pretty much in common.

 

To me, the patriotic subtext of Braveheart falls by the wayside. It's the more basic human themes that thread that film (corrected: that cinematic masterwork) such as sacrifice, conviction, revenge, etc that resonate with me and, I'd wager, with most audiences.

 

Historical credibility is of no concern. All that matters is the emotional impact of the film. Hell, I like Braveheart better (and find it better) than the aforementioned Schindler's List! How is that for an unpopular opinion? :grin:

 

Also, both Bravheart and Apocalypto and his latest Hacksaw Ridge are much more competently made films than any Emmerich film.

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Braveheart is an unusual listen to me, in that I disassociate my listening experience with the events depicted in the film, and its story. No, when I listen to Braveheart, it is purely for the appreciation of the layers of stunning harmonic texture and the marvelous technical mastery I expect from Horner. It's an album of music first and a score second (I've only seen the movie once, 20 years ago).

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It works better in the movie than as a (somewhat) monotonous score (lots of repetition, as became customary with JH after his big drama period began). I'd say there are 40% brilliant cues in that one (Secret Wedding, Betrayal, Attack on Murron, the finale etc.) but a lot of atmospheric filler or functional stuff (Revenge, Battle of Stirling, first half). 

 

As for comparing Mel and Roland: let's give Gibson a break here. He may be a fellow of odd values and haunted by demons, but even wake-comatose he couldn't aspire to the intellectual lows that are Emmerich's calling card. 'Braveheart' is sure not directed by William Wyler (one director who wrangled a very literate and intelligent historical movie out of what could have been a disaster) but it's no 'Patriot', either (what Gibson would have done with this is everybody's question).

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Hacksaw Ridge was not competently made.  I thought the acting was painfully bad from everyone involved.  Especially Vince Vaughn who seemed out of place and awkward.  Every line reading was cringey.  Everything about that film just felt inauthentic and off.

 

Also I was distracted by using Australia for central Virginia, but that's a personal problem since I know the real area so well.

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1 hour ago, Quintus said:

Braveheart is an unusual listen to me, in that I disassociate my listening experience with the events depicted in the film, and its story. No, when I listen to Braveheart, it is purely for the appreciation of the layers of stunning harmonic texture and the marvelous technical mastery I expect from Horner. It's an album of music first and a score second (I've only seen the movie once, 20 years ago).

 

I wish we could do multiple emoti reactions.

 

Agree completely on the brilliance of Horner's score, but perplexed that you've only watched this stellar film once.

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For the record, I also watched it once. As a kid, at the time, I was completely off-put by the violence. It came up on television not a year past and, being a man who likes to look at film critically, I could not believe how incredible this movie was.

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