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The Minority Report Approach


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When the Minority Report OST was released, some reviewers commented that the score was a rather conservative effort from Williams, as he had turned again to purely orchestral music, rather than exploring new territories like the techno music in A.I.

Well, now most of us have seen the movie. And most of us have listened to the score both inside and outside the movie. What do you think? Do you think that a new un-orchestral sound would have helped the movie? Or do you believe that the conservative (appropiate or inappropiate maybe but conservative, yes) approach was the correct? If so, are you happy with the score as it is?

In my opinion, the Herrmanesque score was good for the movie. On its own, it's a wretched listen, but it was good for the movie. I think the score would have benefitted a little more boldness from Williams, new sounds, but not making these sounds prevailing in the score. Just some metal, futuristic sounds for the CGI shots of Washington d.c. It would have added a whole new dimension to the score.

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I thought JW's approach was correct. This film's style was supposed to be in the tradition of Hitchcock and film noir. So the "Hermanesque" approach reinforced this aspect of the film. It was a dark, gritty film in many ways - different than what people (myself included) were expecting. The concept suggested we might get a more futuristic Williams but the texture of the film did not really allow for this.

I actually enjoy the score from the point of view of a listening experience. Sean's theme is very pretty, especially in its most rhapsodic moment in track 9. Ann Lively's theme is genious. The more dissonant passages are evocative and rich, IMO. I could go on. l

With all of his scores, my listening experience is heightened by an understanding of how the score worked in the film, so its hard to completely separate the two criteria.

- Adam

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I thought JW's approach was correct. This film's style was supposed to be in the tradition of Hitchcock and film noir. So the "Hermanesque" approach reinforced this aspect of the film. It was a dark, gritty film in many ways - different than what people (myself included) were expecting. The concept suggested we might get a more futuristic Williams but the texture of the film did not really allow for this.

I actually enjoy the score from the point of view of a listening experience. Sean's theme is very pretty, especially in its most rhapsodic moment in track 9. Ann Lively's theme is genious. The more dissonant passages are evocative and rich, IMO. I could go on. l

With all of his scores, my listening experience is heightened by an understanding of how the score worked in the film, so its hard to completely separate the two criteria.

- Adam

Everything you just said reflects what i was going to say.

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The good news is that here he's not recycling. Not that he does it alot but lately I had my doubts. IMO, the first listen was a pretty boring run but underneath the surface there is beauty to discover.

For me John doesn't need a sonic techno touch in his music. But I wouldn't mind if he explored some new orchestral styles like he did in The Mecha World, which for me, is easely one of his best efforts in years. Really, I'm not waiting for another epical Patriotesque score (I hope he's not doing Alexander The Great) which are so typical Williams. I think Williams is talented and rich enough for trying something new and still sound like Williams. But that's a whole other issue.

----------------

Alex Cremers

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I think JW's approach was correct, and it was both modern and historic, modern classical music wise that is. Why use techno that will sound dated quickly. Although, the music could have been a bit more modern.

Anyway, I think that Alexander the Great is not going to be Patriotesque like, it will likely have big themes (JW-Stone movies tend to have big themes) But of a more ancient epic movie nature with probably some military marches. It won't be a Ben Hur like epic in scale, but it should be of that school.

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I've been thinking about the use of some synthetized sounds in soundtracks. What I've found is that synth sounds have the tendency to age easily; what it sounded cool today, will sound cheap and old fashioned in 5 years. This is a reason why I would stay away from tech sounds, and if some new sound is needed I would do it with caution.

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Minority Report is IMHO one of the best Spielberg - Williams collaborations in the last decade next to A.I.. Music is perfect in the film and I'm glad that Williams didn't use synth music. It will be not very appropriate for this film.

The film is excellent futuristic film-noir and Williams's music is wonderful film-noir score.

The action cues "Everybody Runs" and "Anderton's Great Escape" are also great. IMHO one of the best action pieces Williams have ever composed. Music for the first 'murder-prevision' scene is breathtaking especially in the connection with the previsions and the whole 'rescuing' scene.

Anne Lively's Theme is awesome. I love that female voice so much!

And Sean's Theme? It's brilliant.

I think Minority Report is one of the best films and scores in 2002 :)

:music: Minority Report

E-Wan - who loves Minority Report!

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I agree with a lot of what's been said so far. I think Williams took the right approach and he explains that approach on the DVD. It was perfect for the movie. Visions of Anne Lively is quite an achievement as well. That piece gives me a different kind of goosebumps; absolutely chilling.

Ted, who is glad to have made 1,000 posts

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I'm really happy with what Williams came up with for MR, it's another score which can be listened to without the movie (just like most of his other works). The techno music bit in A.I. is actually the part of that movie that I find the most disturbing :-/ followed up closely by the really weird ending of the movie... Aliens? what the heck?

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Wow I'm suprised at how many people really like this score. I agree E-Wan. It's a fantastic score the build up for Leo Crow...The Confrontation is breathtaking. The music perfectly acompanies the film.

Justin - :music:

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I hope I can voice my like for parts of a one of JW's new scores without being ridiculed by Joe. I made sure not to put in any slang, which has no meaning to him.

Ironically, Joe hates A.I.

Neil

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the 'Minority Report Approach' is rather non specific movie music that could fit a number of different scenes,in different movies .

K.M.who thinks some of the action music in MR ,AotC and CoS are interchangeable.

K.M.

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When the Minority Report OST was released, some reviewers commented that the score was a rather conservative effort from Williams, as he had turned again to purely orchestral music, rather than exploring new territories like the techno music in A.I.

Ummmmm WHO THE HELL SAID THIS??

That score was ANYTHING but a "standard" Williams effort.

One of his more experimental works I would say.

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The music works well in the film, the action music is derivative of his late 90's scores like TLW, but it does work in the film.

But it's not like Jaws, or CE3K, or Raiders or E.T., were it's impossible to think of any other kind of music for those films.

It's a pity.

The film is utterly brilliant though, proof that Spielberg does not NEED Williams to make a masterpiece.

Stefancos- finally picked up the DVD for cheap.

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When the Minority Report OST was released, some reviewers commented that the score was a rather conservative effort from Williams, as he had turned again to purely orchestral music, rather than exploring new territories like the techno music in A.I.

Ummmmm WHO THE HELL SAID THIS??

Some guy up there in the "Minority Report Reviews" section of this site.

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The film is utterly brilliant though, proof that Spielberg does not NEED Williams to make a masterpiece.  

I disagree the score is a vital part of the film. The Spyder sequence wouldn't be nearly as intense without Williams music. The Ann Lively theme makes the character. The build up in the Howard Marks case. The Confrontation with Leo Crow. Personally I love every moment of the score in the film.

Justin

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The music works well in the film, the action music is derivative of his late 90's scores like TLW, but it does work in the film.  

It doesn't just work in the film, it's a great piece of music. Sean's theme... the spyders music.... the score is high of quality and did much to aid the film. I wouldn't call it that experimental, except for maybe a few seconds in some places.

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