mxsch 105 Posted October 27, 2021 Share Posted October 27, 2021 I know that this topic have been beaten to death but anyways. Honestly, I'm not very familiar with older scores, I mean earliest scores outside of the early Williams works like Jaws that I've listened were John Barry Bond scores. And what about the later years, Williams is definitely unmatched. He have strong director-composer relationship with Spielberg, plus amount of the legendary themes that came from him is insane. He also was pretty good about the movie choices, and even his average score is still above all others. I love every era of his action writing, since I'm blockbuster guy when it cames to the soundtracks. The way he handles leitmotifs is unmatched too, just look again on the SW, where every score feels like grand operatic event, this is especially true to the ROTS finale. When it cames to leitmotifs the only scores to match it IMO are LOTR and HTTYD trilogies. Schindler's List have played key role in my liking some softer scores, but this is still not my cup of tea a bit (this score is still brilliant and among the very best too) But like the movie itself, it is so heartbreaking that sometimes I'm really find hard to listen it in full. I've seen the movie only once, same reason. Plus the fact that he scored so much franchise movies and established so many thematic material in them, I mean Jaws, Superman (Returns would be nothing and dull if it was everybody else except Ottman, he did so good, and I imagining sometimes about alternate universe, where Williams scored both Superman 2 Director's Cut and Returns), Star Wars, Indiana Jones, Jurassic Park, Home Alone, Harry Potter, damn. Yeah, I know about Goldsmith and Horner, I like them, but Goldsmith scored pretty much not so big movies, Horner was much better in this case, but his self-plagiarism is kinda push away me a little. Fact here is that they did sometimes like a six movies in year and it all were pretty much meh. Horner in particular did 10 effing movies in 1993! I also like Silvestri, but I know that some don't like him, since he never evolved in terms of sound, but his snare-ripping action writing wins me every day. Elfman is my favourite too, but he has gone to mediocrity too quickly with some shiny moments, like Alice or Avengers 2. But Batman and Scissorhands are easily among very best of movie scores. It's really sad that David Arnold pretty much dropped movie scoring, because honestly I prefer his Bond scores to the Barry's, I know this is some kind of controversy, but still. The Living Daylights is the blast, though, because Barry managed to very successfully revamp Bond sound and themes in that score are great, plus this sick beat over any action sequence. Powell is clearly in the renaissance now, he clearly can made another one SW score and imagine if Gordy Haab will be scoring movies too, I know that he mostly emulate Williams, but still. And I also like Ludwig Goransson but he done very little in comparison to others so we need to wait and see. Brian Tyler also fine but he is more about combining RCP level of epicness with his much more melodic style. They all have very fine works, but problem here that in the most cases with movie composers overall there is John Debney situation: maybe one (or very few) really great score (Cutthroat Island) and tons of mediocrity. So am I wrong about JW? Maybe you can suggest some post-70's scores and composers that will change my opinion on this matter. But I doubt that there is another movie composer with the same quality level of Williams. Link to comment Share on other sites More sharing options...
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