Chase Music

[Josh500 1,615]

What is the best chase music or music accompanying a quasi-chase scene composed by JW?

For me, every Star Wars action cue, Chase through Coruscant (AotC), Incident at Isla Nubar (JP),

Everybody Runs (MR), The Hunt (TLW). Anything else?

[#SnowyVernalSpringsEternal 10,265]

The Desert Chase.

[HPFAN_2 0]

1. Zam the assassin

2. Anderton's Great Escape

3. The Hunt

4. Desert Chase

5. Escape, Chase, Saying Goodbye.

[John McClane 1]

The Desert Chase (ROTLA)

Belly of the steel beast (LC)

Just to name few

[#SnowyVernalSpringsEternal 10,265]

Visitor In San Diego is pretty much unbeatable.

[John McClane 1]

Also, your avatar's ugliness is pretty much unbeatable.

I could add: The mine car chase (ToD) and The great shark chase (Jaws)

[Mr. Breathmask 555]

Pretty much any chase cue from the Indy films, and of course the ever-great cue The Asteroid Field

[Morlock 11]

Desert Chase, Astroid Field. The usual Suspects.

Morlock- who disagrees with TommyJohnson and thinks Stefan's avatar is fine and dandy.

[John McClane 1]

Morlock, my post was obviously a joke, as I was quoting his post. I like his avatar, it's nice for the holiday, but the mug should make its return on January 7th.

[#SnowyVernalSpringsEternal 10,265]

but the mug should make its return on January 7th.

"

Why the 7th?

[Luke Skywalker 1,795]

Christmas ends the 6th, with the Three wise men bow to Jesus.

No more xmas things to celebrate after than till next year...

[#SnowyVernalSpringsEternal 10,265]

Christmas ends the 6th, with the Three wise men bow to Jesus.

Okaaaaay.....

[Elmo Lewis 6]

The Desert Chase.

Thou art never wrong.

[John Crichton 4]

Asteriod Field, Desert Chase. The Chase Through Coruscant is highly underrated, and Bounty Hunter Pursuit from Ep. II is also a very fun little action cue (great cymbal use!). Belly of the Steel Beast is great also, but every time I listen to it it's stuck in my head for two days. :?

[TheRuleOfThirds 0]

"Hyperspace."

Other great chase cues go as follows:

--"Roy's First Encounter"

--"The Escape" (from CE3K)

--"Chasing Rockets"

--"The Great Shark Chase"

--"Mine Car Chase"

--"Scherzo for Motorcycle and Orchestra"

--"The Streets of Shanghai"

--"Indy's First Adventure/Dunn and Duffy Circus Train"

--Theme from "Sugarland Express"

[JoeinAR 1,949]

The great shark chase in Jaws, Ben's Death and the Tie Fighter Attack.

[John Crichton 4]

Indy's First Adventure/Dunn and Duffy Circus Train

Ah yes, how could I forget that. One of my favorite cues ever.

[Lurker 5]

"Chasing Rockets" and "Desert Chase".

Neil

[Mr. Breathmask 555]

Belly of the Steel Beast is great also, but every time I listen to it it's stuck in my head for two days.  :?

I know. Annoying, isn't it? LOL

[HPFAN_2 0]

Why am i the only one who likes Anderton's Great Escape?

[#SnowyVernalSpringsEternal 10,265]

Probably.

[fommes 153]

I like it, but I still haven't decided yet whether I like it in the context of the score - it seems a bit out of place. The score itself though, strangely, doesn't get much praise around here; but I think it's one of his best efforts of the last ten years.

Concerning chase cues - I'd elect 'Scherzo for Motorcycle and Orchestra', and the 'Asteroid Field'.

[fommes 153]

Steef, in what perspective does 'Anderton's Great Escape' differ from the 'Visitor in San Diego' cue? Apart from the part in the latter where they take the baby T-Rex (a motif which Don Davis used), those two tracks are really just stock John Williams action cues - a bit too much to my liking. (Yet, give me those any time in comparison to the 'Monster Book' type.)

[#SnowyVernalSpringsEternal 10,265]

Steef, in what perspective does 'Anderton's Great Escape' differ from the 'Visitor in San Diego' cue? Apart from the part in the latter where they take the baby T-Rex (a motif which Don Davis used), those two tracks are really just stock John Williams action cues

Wrong, Lotman.

Visitor In San Diego is one of the first times he wrote that kind of action music.

It would become a stock williams/action sound later when he redid it for MR, Harry Potter and AOTC.

But with TLW it is still fresh and new.

[fommes 153]

I see your point, and stand corrected. Nonetheless, I think it's been coming gradually, it has for instance that certain Hook feel I don't like. (Not that I dismiss Hook in its entirety here, just the finale cue on the CD.)

[#SnowyVernalSpringsEternal 10,265]

I'm sorry, I see very little resemblance between the score for TLW and Hook.

And yeah there were a few smal previews of the TLW style in some of his earlier efforts perhaps, but that film has the first time were Williams really abandoned thematic action music and went with rhytmic instead.

[JoeinAR 1,949]

TLW is a great cd, one of Johns best of the 90's. Better than SPR(isn't anything though) better than SL, better than even JP.

[fommes 153]

that film has the first time were Williams really abandoned thematic action music and went with rhytmic instead.

I'm not talking about the whole score (which I like very very much), but about 'Visitor to San Diego' only, after that nice bit Davis copied.

[#SnowyVernalSpringsEternal 10,265]

You are gonna have to give me tracktimes, since I hardly know Don Davis' score.

[Adam 1]

The Hunt in TLW is a great one but isn't in the film so impossible to evaluate from that standpoint. Maybe the hoth sequence is my favorite, if that counts, as the rebels try to escape. The frantic string writing and the weaving in and out of the themes is very effective.

- Adam

[Falstaft 2,132]

Part of the genius of the Visitor in San Diego cue is how so much is based soley around that little danger motif (CDEC), it's pretty incredible. JW's TLW is overflowing with stuff like that, a really rewarding score to listen to over and over -- every time I hear something new and surprising. Just its thematic economy rivals that of Minority Report, I think. JW really works the heart out of the danger motif!

I don't think TLW is a total shift in Williams' style of action writing -- there are plenty of precedents of that relentless rhythmic approach in previous scores, and a lot of the writing for that particular score is hardly athematic, or at least, amotivic. But as an overall effort, I do think it embodies the stylistic transition in his writing, an emphasis on frenetic, momentary musical figures, and away from the grand and more developed sound of "classic" Williams action cues. Plenty of exceptions exist on either end, but I do see it as a distinct trend.

And of course, there is William's stock action theme -- first heard in TLW (Ludlow's Demise), later heard in The Patriot (Tavington's Trap?), Harry Potter (Quidditch Match), and as the primary theme of Anderton's Great Escape, a fabulous piece of action scoring if admittedly out of place w/ the rest of the score.

[Josh500 1,615]

What does CDEC mean??? LOL

[Sandor 797]

How come the soundtrack for The Lost World is so overrated? I mean; the music has barely any melody (especially compared to the beauty and thematically rich Jurassic Park) and this is not some weird movie - it was supposed to be a big, spectacular, Hollywood hit back in 1997. I feel the music should reflect that (like the original Jurassic Park did).

But instead we get a truly uninspiring theme (listened to it many times; still doesn't do it for me), a lot of drum/percussion based action music which has some dynamic power (The Hunt, Recuing Sarah), but there are no sweeping themes to complement that kind of material.

"But the Lost World isn't that kind of film...", I hear people say. Yeah right; than neither is The Empire Strikes Back or The Prisoner Of Azkaban. Funny; those "darker" installments have their share of grand thematic writing...

And you what else is bad about The Lost World: the packaging! And the sound quality! Compare both to the original Jurassic Park. Whoo...

Roald

[JoeinAR 1,949]

it took me a while to fall for this cd Roald, but now I love it. I listen to it often. I love the main title, as I've said before its very Johnny Quest. It would be the perfect score for King Kong

[Sandor 797]

Well I'm listening to The Lost World right now. I hope to hear the things that you and others (with better taste than me perhaps?) hear.

You mention King Kong. Hmmm... I think Howard Shore's score for Peter Jackson's version will be immensly superior. It may even equal the original Jurassic Park score.

Roald

[#SnowyVernalSpringsEternal 10,265]

How come the soundtrack for The Lost World is so overrated? I mean; the music has barely any melody (especially compared to the beauty and thematically rich Jurassic Park)

There are more then one way to score a film.

and this is not some weird movie - it was supposed to be a big, spectacular, Hollywood hit back in 1997. I feel the music should reflect that (like the original Jurassic Park did).

I disagree, I think it is brilliant what Williams did.

He could have easily pulled a Home Alone 2 with this film, instead he sat down and created a whole new style and mood for the sequel.

Jurassic Park is a score about a Theme park with dinosaurs.

The Lost World is a score about Dinosaurs in the wild, free and dangerous.

But instead we get a truly uninspiring theme (listened to it many times; still doesn't do it for me), a lot of drum/percussion based action music which has some dynamic power (The Hunt, Recuing Sarah), but there are no sweeping themes to complement that kind of material.

While I admit that John Williams fares better with melodic action music most of the time, this score is the sole exception.

"But the Lost World isn't that kind of film...", I hear people say. Yeah right; than neither is The Empire Strikes Back or The Prisoner Of Azkaban. Funny; those "darker" installments have their share of grand thematic writing...

So John Williams did not write a big thematic score for once, so what?

I personally think TLW is a stronger and more enduring score then JP.

It's almost Goldsmithian in it's effectiveness (though not in style of course)

And you what else is bad about The Lost World: the packaging! And the sound quality! Compare both to the original Jurassic Park. Whoo...

Roald

TLW sounds great, with the exception of that last track.

[Adam 1]

Maybe the best way to look at it would be to ask what scene or idea in the movie needed a sweeping theme but doesn?t get it? I can?t really think of anything. Its not just a matter of the film being darker. Its the fact that the movie tries to be more claustrophobic and that its more in the style of a monster movie than an adventure as others have suggested. The kind of scenes that gave us the big themes in JP, aren?t really there in The Lost World. The approach to the island in JP is exciting and foreshadows adventure. The approach in the Lost World, foreshadows dread and the unknown. And both scenes are rooted in the direction and the characters? state of mind at the time. That?s just one example, but I think that kind of thing explains the difference.

I enjoyed reading your analysis, Falstaff. Very perceptive.

- Adam

[Morlock 11]

I forgot to list 'Indy's First Adventure'. Good stuff (and I've got no less than Randy Newman to back me up on this one! yay!)

[Simon R. 10]

"The Flying Car" from HP: COS - wonderful writing!

[HPFAN_2 0]

Oh yes i forgot The Raptors Appear from The Lost World.

[Bowie 45]

Pfft. Just go back to your CD players and put on E.T.

Adventure on Earth (aka Escape/Chase/Saying Goodbye) would always score top points in this poll if it hadn't been heard so many times. It's the best sequence of music in a globally accepted top-5-ever score of all time (alternate: best action/adventure score) in Spielberg's best ever film (if you're not a fan of Schindler's), and anyone with half a brain would take it onto an island with them if they were to never hear a different piece of music ever again. Can you possibly argue that this 15 minute cue is not the most glorious, heart-racing, colourful, dramatic, comedic, lofty, melodically-, rhythmically-, harmonically- beautiful and proficient piece of music ever recorded for the silver screen?

Bowie - who thinks that the score to E.T. is unbeatable when it's been placed in the cd player, no matter what preconceptions or fears of boredom precede it.

[Ray Barnsbury 8]

Well said, Bowie. I completely agree. The piece is a triumph in so many ways.

Ray Barnsbury

[TheRuleOfThirds 0]

Adventure on Earth (aka Escape/Chase/Saying Goodbye) would always score top points in this poll if it hadn't been heard so many times. It's the best sequence of music in a globally accepted top-5-ever score of all time (alternate: best action/adventure score) in Spielberg's best ever film (if you're not a fan of Schindler's), and anyone with half a brain would take it onto an island with them if they were to never hear a different piece of music ever again. Can you possibly argue that this 15 minute cue is not the most glorious, heart-racing, colourful, dramatic, comedic, lofty, melodically-, rhythmically-, harmonically- beautiful and proficient piece of music ever recorded for the silver screen?

Bowie - who thinks that the score to E.T. is unbeatable when it's been placed in the cd player, no matter what preconceptions or fears of boredom precede it.

Bringing in the New Year early, are we? The subjectivity's dripping from this. Yeah, I'll argue it's not the most glorious...and proficient piece of music ever recorded. Let's take the last 12 minutes of CE3K. Or "The Fortress of Solitude" or "Rescue from Cloud City." Settle down, buckaroo.

[Melange 446]

Chase Music

I like "Abandoned and Pursued" (the way it's called on the earlier MCA disc...and the version of it that i like the most) from E.T, where E.T is chased through the foliage at the start. Really skittery, but keeps coming in with that smashing brass. A kind of 'serious' sounding "Basket Game" of sorts (which is also a hoot of a chase cue 'imo'). Then that triumphant ending of Abandoned and Pursued, which suddenly dips into hopelessness as he realizes he's left behind. It's a great little track and very listenable. I also like "High Wire Stunts" from JP (debatable whether or not it's a chase cue or not....it's more of a "race against time" i guess....but the raptors start chasing them later on). I love the menacing begining. It's a great cue (and in the film it all goes well together).

[Bowie 45]

Yeah I like Abandoned and Pursued too, but since much of it is captured in the finale, I thought it wasn't as relevant. In fact, the Adventure cue not only captures pretty much all of the emotions represented in the preceding hour and a half, but it goes through all of the 8 main themes/motives of the film, all except the Halloween/Frogs doo-wah/doo-wah/doo-wah/dooooo Major-2nd-clash comedic march, but the spirit of that appears in the beginnings of the cue in the plodding part before/during the Mischief trumpet motive.

As for The Lost World theme, I only started to love it when I realised how he constructed it all. It's very clever:

1) The ostinato pedal point. First appears on timpani etc and is maintained until the hectic development begins at 1:30, when the pedal note (the piece's tonic) is transferred to cello (single note), trumpet (repeated notes), horn (held notes) until 1:44. We are given the sense of drama by the removal of the pedal note, when the chromatic chords rise frenetically, uncertain of where it's heading, with the glissandi chord suggesting complete confusion and madness. Finally, a new pedal point is established, only it falters every 4 or 5 hits. At 2:05 we are given the next, more resolute pedal point like the beginning, which lasts all the way till 2:57 despite many changing harmonies above. (especially at 2:39-2:57). From hereon, the pedal alternates between a strong bassline and an ostinato.

2) The melody/harmony. Harmonising a minor scale with major chords. Clever. How a dark dinosaur score can survive on major harmonies is surely an interesting discussion, as the stepwise minor melody never actually becomes minor till 1:24 when the major 3rd is omitted, and the very same minor melody is diminished in note-value and given to the trumpet, which then becomes the focal point of the development, where it is passed around the rest of the orchestra, each time increasing dissonance rather than just minor.

3) The rhythm. Nothing in this piece seems settled or conformed. There are bizarre alterations and mixtures of time signature throughout, melodies are announced and concluded off the beat, and single note outbursts are mocked by vigorous repeated notes etc etc.

4) The percussion. Apart from the timpani, the lopsided use of snare, tambourine and crash are worthy of paying attention to on their own. Eg, I love the snare's brief moment of driving rhythm at 0:25 and 0:35, the harp lick at 0:49 (not to mention the melodic instrument moments-to-shine such as trumpet at 1:11-1:18), and the percussion's entirety from 2:11 to end.

Bowie - who has tried to justify why he thinks The Lost World theme is Williams' most inspired theme.

[King Mark 3,631]

Have you heard the version of The Lost World Theme Williams conducted in London in 98?It's on a bootleg floating around with very bad sound.Williams added a (very)thrilling new opening and ending on that version.I'd REALLY like him to re-record it properly that way on a compliation sometimes.

K.M.