John Williams "Yes Men"

[Henry B 50]

We all have unique opinions about John Williams' music, but they are, for the most part, overwhelmingly positive. Too positive, though? I have noticed that some people seem absolutely incapable of criticizing Williams. Everything he does is perfect! Well, sorry, but if you think John Williams is always in a state of unbridled creativity and inspiration, you're a fool. Everybody has his or her ups and downs. Williams included. Of course, it all boils down to opinion. But ask yourself, is John Williams really the Ralph Nader of music? (Calm down - I'm talking about Nader's dedication, which is by all accounts amazing, not his ideas and policies, which are very controversial.) Maybe you think so, maybe you don't. But there is a general pattern that I perceive...

"Senior" members, those that have followed Williams for 10+ years and have dozens and dozens of his soundtracks, adore the 70's/early 80's stuff, but are less thrilled about his more recent works, although there are some standouts, e.g. Sorcerer's Stone. Some people, and here I am thinking JoeinAr and AotC, just hate certain Williams soundtracks. The newer members, however, those that got into Williams through Potter or the Star Wars prequels, have few, if any, dislikes. But they've also heard less Williams (and that includes me; I only got into Williams a couple years ago and have maybe twenty soundtracks, or less).

In general. There are exceptions to both groups...but...well, now I'm not sure to say. Just hoping for a more objective discussion of Williams' music. So, to the "Williams can do no wrong" fan: it's possible that you like every Williams soundtrack and every Williams cue, but I find that unlikely. If you don't like something, just say it. There's no use pretending!

For example, I find the music for the Canyon of the Crescent Moon in Last Crusade up until the finale extremely dull, for the most part. Compared to "The Miracle of the Ark," (and that's basically what the film sequence is trying to be) it's nothing. My honest opinion. So let's hear yours!

I mean no disrespect by the "yes men" thing, it's just the best phrase I could think of to describe this. Nothing against anyone personally, after all, we're just talking about appreciation of art, not sucking up to one's boss or something.

[Jeshopk 8]

I think that parts of AI could have been better handled. My biggest criticism comes from not the composition, but the recording techniques. I also think sometimes the orchestra is less emotive than the old LSO, but that's gotten better in recent years.

I have listened to Williams since I was 2 (1977). I had Star Wars and Close Encounters playing constantly. It wasn't long before I got Jaws, ET, Raiders, Empire Strikes back, Etc. etc. etc.

I collected all his albums since then, and although I have my favorites, the quality, artistry and intent seems rather consistent. I don't compare apples and oranges, like Stanley and Iris and Empire Strikes Back, simply because they are different animals.

I think he's still at the top of his game, and I enjoy the new Star Wars soundtracks as much as I did the old ones. So I am a yes man.

[King Mark 3,624]

I prefer the Williams who scores fantasy/adventure films.I get bored when he scores stuff like Sabrina/Rosewood/Sleepers/Tibet/Angela's Ashes...what was wrong with him in the 90's...

K.M.

[Docteur Qui 1,544]

I simply can't get into Jaws. It's just too dull for my liking. I'm having the same trouble with CE3K, at the moment I adore the final track but I can't/don't listen to any of the others. I don't automatically love everything Williams writes, but it gradually grows on me if I listen to it and find bits I like. When I first got ESB I wasn't terribly "wowed". But after (lots of) repeated listens it ranks in my top 5. Unfortunately it's getting harder and harder to allow soundtracks to grow on me now that I'm buying more and more; when I had the first two Potter scores it was easy to love them because they were the only CDs I had.

I don't know if I'll ever love Jaws or AotC (which I also purchased recently), but I try!

[John Crichton 4]

I've had a difficult time getting into AI, and find parts of ET very boring. I've also had a tough time with Jaws but I'm giving it another chance right now. And yes, the Canyon of the Crescent Moon cue is not that good, but the rest of the cues after that up to the end are wonderful.

[Unlucky Bastard 7,782]

I admit to finding some of Williams' soundtracks difficult to get into (i.e. Angela's Ashes, Nixon, Schinder's List), but that doesn't mean to say they're bad scores, they just don't go very high up on the enjoy-o-meter. They work in the films they were made for, and that's what matters. So yes, Williams can do no wrong musically.

[SturgisPodmore 0]

I'm not all that fond of Schindler's List; it's pretty, but not that enjoyable outside of the film.

Actually, the first time I heard POA, it was at the AOL listening party, and I had the track listings from Amazon with me, and was trying to follow along. I actually didn't like it all that well. It was certainly not at all what I had expected; mostly because it was such a huge departure from the first two scores. I remember that I thought "Buckbeak's Flight" was kind of pretty, but I hadn't expected anything like that at all. I don't really know what I did expect, but the score is just so versitile, it caught me off guard and I was rather dissapointed. Now, however, it's in at least my top three favorite scores, if not number one.

I don't like it when Williams uses a lot of slow "filler music" (i.e. non-thematic) with out much purpose. Of course, not everything can be a theme, but when entire minutes go by without anything exciting or very interesting, it annoys me slightly. Thankfully, this doesn't happen very often.

So, for the most part I am a "yes man," but there are just a few things I'm not all that fond of.

~Sturgis

[Henry B 50]

Actually, the first time I heard POA, it was at the AOL listening party, and I had the track listings from Amazon with me, and was trying to follow along. I actually didn't like it all that well. It was certainly not at all what I had expected; mostly because it was such a huge departure from the first two scores. I remember that I thought "Buckbeak's Flight" was kind of pretty, but I hadn't expected anything like that at all. I don't really know what I did expect, but the score is just so versitile, it caught me off guard and I was rather dissapointed. Now, however, it's in at least my top three favorite scores, if not number one.

Heh, same here, I hated PoA at first (save for, of course, the Sorcerer's Stone references, e.g. Nimbus 2000 in "Mischief Managed!").

I don't like it when Williams uses a lot of slow "filler music" (i.e. non-thematic) with out much purpose. Of course, not everything can be a theme, but when entire minutes go by without anything exciting or very interesting, it annoys me slightly. Thankfully, this doesn't happen very often.

Like "Meeting Aragog." God, I can't stand that...thank goodness for "Fawkes Is Reborn" following it.

[SturgisPodmore 0]

Indeed, Drax. Indeed. 8O

~Sturgis

[pixie_twinkle 48]

We all have unique opinions about John Williams' music, but they are, for the most part, overwhelmingly positive. Too positive, though? I have noticed that some people seem absolutely incapable of criticizing Williams. Everything he does is perfect! Well, sorry, but if you think John Williams is always in a state of unbridled creativity and inspiration, you're a fool. Everybody has his or her ups and downs. Williams included. Of course, it all boils down to opinion. But ask yourself, is John Williams really the Ralph Nader of music? (Calm down - I'm talking about Nader's dedication, which is by all accounts amazing, not his ideas and policies, which are very controversial.) Maybe you think so, maybe you don't. But there is a general pattern that I perceive...

"Senior" members, those that have followed Williams for 10+ years and have dozens and dozens of his soundtracks, adore the 70's/early 80's stuff, but are less thrilled about his more recent works, although there are some standouts, e.g. Sorcerer's Stone. Some people, and here I am thinking JoeinAr and AotC, just hate certain Williams soundtracks. The newer members, however, those that got into Williams through Potter or the Star Wars prequels, have few, if any, dislikes. But they've also heard less Williams (and that includes me; I only got into Williams a couple years ago and have maybe twenty soundtracks, or less).

In general. There are exceptions to both groups...but...well, now I'm not sure to say. Just hoping for a more objective discussion of Williams' music. So, to the "Williams can do no wrong" fan: it's possible that you like every Williams soundtrack and every Williams cue, but I find that unlikely. If you don't like something, just say it. There's no use pretending!

For example, I find the music for the Canyon of the Crescent Moon in Last Crusade up until the finale extremely dull, for the most part. Compared to "The Miracle of the Ark," (and that's basically what the film sequence is trying to be) it's nothing. My honest opinion. So let's hear yours!

I mean no disrespect by the "yes men" thing, it's just the best phrase I could think of to describe this. Nothing against anyone personally, after all, we're just talking about appreciation of art, not sucking up to one's boss or something.

That was the longest way of asking us to name our least favourite Williams cues that I've ever read! Oh well, mine is definitely the cringeworthy "Crimebuster" from Heartbeeps. I actually feel embarassed and self-concious listening to it even if I'm by myself! Horrible piece. I can't believe the Varese sleeve notes actually compare it to the Imperial March! Unbelievable. They are both in quadruple time, thats about it.

[Docteur Qui 1,544]

I don't like it when Williams uses a lot of slow "filler music" (i.e. non-thematic) with out much purpose. Of course, not everything can be a theme, but when entire minutes go by without anything exciting or very interesting, it annoys me slightly. Thankfully, this doesn't happen very often.

Couldn't agree more, and I also dislike Aragog. Also the cues between "Meeting Tom Riddle" and "Dueling the Basilisk" I almost always skip over. Except for the ending of "Cakes for Crabbe and Goyle" when Harry ascends the spiral staircase to Dumbledore's office. Love that cue. Also one of the things I'm glad they changed from the book because it's more dramatic and allowed for the music.

[Johnnyecks 33]

As horrible as this may sound, I can never really get "into" the Star Wars music!

NOW...that being said... I love it. Do NOT get me wrong here. It is wonderful music. But the problem I have with it is that, and this has been brought up in other threads, it is way too overplayed. I hear it in other movies, on the radio, during commercials, during spoofs, in the elevator...... it's everywhere.

But do not think that for one second I think of that music as one of Williams' "bad moments". Quite the contrary. Someone said that they can't get into "Jaws". Again, I have the same problem. There are a few of Williams' scores that I cannot, for the life of me, listen through from beginning to end. "Star Wars" (A New Hope), "Jaws" and "CEOT3K" are some that come to mind.

I enjoy, more fully, his filling patriotic scores. I LOVE "Superman". I love his action/adventure scores "Indiana Jones", and his magical scores are the ones that complete my love for his music "Hook, E.T., Jurassic Park, Harry Potter".......

Some of his early 90's stuff, I am starting to enjoy more than I did back then (Nixon, Sleepers, Sabrina, etc...) but it took me a long time to even listen to these. Hell, I just started to enjoy "The Patriot"! Heheh.....

[Docteur Qui 1,544]

I also have a bit of trouble getting into SW. It is my most recent acquisition though, so that may have something to do with it. I think the main problem is that I'm expecting themes from ESB, as I got that one first. I miss them a lot when listening to SW, and it makes me want to find ROTJ somewhere where it isn't over $30.

[Morlock 11]

In time, you'll all see the light.

Morlock- who's liked at least one cue of every single JW score since 1970.

[HPFAN_2 0]

There is some Williams stuff i don't like for instance Star Wars. BORING!!!!!!!!!!!!

[A24 4,326]

In time, you'll all see the light.

 Morlock- who's liked at least one cue of every single JW score since 1970.

Now that's what I call "open-minded". 8O

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

Alex Cremers - Who thinks "HPFAN 2" and "magical me" are products of their time and therefor use trivial words like "dull" and "boring" for everything they don't understand. So easy overloaded this new generation is.

[Docteur Qui 1,544]

I've definitely found at least one cue in every album I have that gives me shivers, but I just have trouble warming to the underscore. It also helps if I'm familiar with the images that the msuic accompanies.

[Mr. Breathmask 555]

From what I've heard, I pretty much like all of Williams' stuff. But there's a lot of things I haven't heard, and frankly I'm not really interested in scores like JFK, Nixon or Sabrina right now. I love Williams' older stuff, like the Indy films and the Star Wars trilogy. I love PS too. And Williams has been writing some great music over the past years.

But there are other composers out there who write equally great scores, sometimes even better. I just have not really gotten into their full body of work. I'm still constantly widening my horizon.

- Marc, 8O

[Elmo Lewis 6]

Alex Cremers - Who thinks "HPFAN 2" and "magical me" are products of their time and therefor use trivial words like "dull" and "boring" for everything they don't understand. So easy overloaded this new generation is.

Yes, so unlike the 70's one. Tell me again, Alex, what do you think of the Harry Potter scores?

[A24 4,326]

Alex Cremers - Who thinks "HPFAN 2" and "magical me" are products of their time and therefor use trivial words like "dull" and "boring" for everything they don't understand. So easy overloaded this new generation is.

Yes, so unlike the 70's one. Tell me again, Alex, what do you think of the Harry Potter scores?

That's beside my point, Ender. My point is that some people would actually like John Williams to be the orchestral incarnation of ABBA. Every time Williams is getting interesting or challenging they go, "BORING". They are only in it for the easy-to-swallow "whistle along" tunes. If Zimmer had scored the Potter films, John Williams would be an unknown to them. Please, be my guest and like him for the Potter scores, but don't go calling his other music "dull" or "boring", especially when most of the Potter scores are nothing but third-rate carbon copies of his previous works.

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

Alex Cremers - who listens to the third Potter score quite a lot and mainly likes it for the medievil stuff.

[Elmo Lewis 6]

Okay, we'll conveniently leave it beside the point.

However, doing that, what you say is mildly interesting. I always thought generations of fans liked the memories attached to the music more than the music itself -- or their concept of music (enjoyable music for them, for that matter) would be defined by some particular examples, excluding new, different approaches. Thus, the Harry Potter scores at the ultimate nostalgic gift - it has a bit of the 80's, some early 90's, and definetly a touch the early 21st century Williams. Also, see HPFan's true love for 'Fawkes the Phoenix' theme and his dislike for Star Wars for further examples. Not that this is at all contradictory with what you say - it's a different way to look at the same reality.

Alas, I, too, am a reluctant victim of that theory. Jurassic Park got me started in this, and by it I shall stick. Although I am proud to have developed an equal taste for Williams' other idioms (Seven Years in Tibet, A.I.), I can't help going back to the brass and the triplets. Oh, well.

[A24 4,326]

Well, it's the first Star Wars movie that got me into Williams but after a while I learned not to care anymore about which or what movie he scored. I found out that Williams' music usually exceeds the quality of the film. I found out that I love Williams for the composer, no matter the project or the instrument he writes for. I no longer link him with movies or images that might support his music. I evolved into the purest form of fan possible. My next step is to become him.

8O

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

Alex Cremers

[Elmo Lewis 6]

Okay well, keep us posted on that issue.

[Magnus 0]

Personally I've got some trouble with his early to mid 70's works... like earthquake and to some extent even The Towering Inferno, I love the Main Title, but not so much else... Also I think some scores as of late have been all too repetitive (well at least how they are represented on the Soundtrack)... The Terminal to name one...

[King Mark 3,624]

In time, you'll all see the light.

 Morlock- who's liked at least one cue of every single JW score since 1970.

Now that's what I call "open-minded". 8O

.

Me too,that's why ,despite what I said above,I hunt down every single Williams score that exists.Angela's ashes has Back to America,Sleepers has The Reunion,Nixon has The Turbulent Years,Tibet has Regaining a Son....

K.M.

[QMM 4]

I just get ticked when people keep trying to force people to think/believe that this/that score is good,not bad, if you think it's bad you're a poor excuse for a human being.

People are not the same which applies to tastes and likings/dislikings as well.

I personally don't give a s*** on people's reviews of movies and scores. It's also a reason why I never completely trust film/score reviews, you're just listening to one guy give you his interpretation of it.

[Morlock 11]

You might want to see someone about that, ticks are no laughing matter.

[John Crichton 4]

Actually, the first time I heard POA, it was at the AOL listening party, and I had the track listings from Amazon with me, and was trying to follow along. I actually didn't like it all that well. It was certainly not at all what I had expected; mostly because it was such a huge departure from the first two scores. I remember that I thought "Buckbeak's Flight" was kind of pretty, but I hadn't expected anything like that at all. I don't really know what I did expect, but the score is just so versitile, it caught me off guard and I was rather dissapointed. Now, however, it's in at least my top three favorite scores, if not number one.

Heh, same here, I hated PoA at first (save for, of course, the Sorcerer's Stone references, e.g. Nimbus 2000 in "Mischief Managed!").

I had this problem too. I was expecting a traditional Williams sequel instead of the total re-imagining of the entire structure that we got. After a couple of listens it grew on me pretty quickly though. But that statement of the Flying Theme is still my favorite moment in the entire score. 8O

[Trumpeteer 302]

Everything between "Schindler's List" and "Amistad" is a bore.

That does not include "Rosewood," but does include" Seven Years in Tibet."

[Adam 1]

The underscore to his 60s comedies is hard to listen to. The source music and songs, though very campy, will sometimes be of interest to me. So I?ll still buy the albums. But the mickey mouse stuff is just really hard to take and this point was particularly evident when listening to 90 minutes of music to Penelope. So his earlier comedy scores are sort of like curiosities for me with occasional gems (like the piano work in the jazz track - track 14 Penelope). But, at any rate, we?ve all got our favorite scores and our favorite tracks and our favorite passages within a track so I don?t think there are ?yes men? in the sense that there?s someone who would regard all JW music as equally great.

In terms of how the music works with the movie, in the words of Bill Conti, ?John Williams blows me away? (my best recollection of his quote). He?s just amazingly good and I base this view on an obscene amount of time observing his scores as they appear in the movies, even the bad ones. So its not really a yes man type of thing since I?d be more than happy to have a bad view of one of his scores and I don?t offer up praise to scores where I can?t hear it with the movie. For example, I thought he sort of missed the mark when I was able to see The Man who Loved Cat Dancing. Though not a bad score and seemingly more fitting than the one that got thrown out, its still not up to his usual standards in terms of capturing the essence of the movie.

So anyway I think with his level of skill and understanding of the craft, combined with a remarkably consistent approach in terms of the way he subordinates his music to the demands of the film, its possible to get consistently top-notch scores, which is different than saying that quiet dialog underscore is as good as music to the ET finale or something like that.

- Adam

[SturgisPodmore 0]

Oh well, mine is definitely the cringeworthy "Crimebuster" from Heartbeeps. I actually feel embarassed and self-concious listening to it even if I'm by myself! Horrible piece. I can't believe the Varese sleeve notes actually compare it to the Imperial March! Unbelievable. They are both in quadruple time, thats about it.

I love "Crimebuster!" It's so mischievious and bouncy, yet also evil and dark. But of course it's not anything like "The Imperial March."

Most of the Potter scores are nothing but third-rate carbon copies of his previous works.

~Sturgis

[Ray Barnsbury 8]

It seems a lot of people had the same reaction to PoA for the first listen. I was kinda disappointed too at the time; though I immediately loved "Aunt Marge's Waltz" and "A Window to the Past", I was initially left cold by the unexpected but magnificent "Buckbeak's Flight" and the fact that the score really didn't match my preconception regarding themes, etc. But in time I saw the light!

As for Williams music I really don't like, I've never gotten into The Fury. I like parts of it, but the score as a whole has never grabbed me, and I just can't fathom how some people call it one of Williams' very best. Minority Report runs hot and cold (unfortunately mostly cold), and a lot of the underscore in CoS bugs the crap out of me. It's usually either straight from the first score or uninspired and boring (see "Meeting Aragog", as has been mentioned, "Cornish Pixies," and parts of "Polyjuice Potion"/"Cakes for Crabbe and Goyle" which are two tracks I can't distinguish between offhand).

Ray Barnsbury

[SturgisPodmore 0]

Yup. Filler.

~Sturgis

[Docteur Qui 1,544]

Alex Cremers - Who thinks "HPFAN 2" and "magical me" are products of their time and therefor use trivial words like "dull" and "boring" for everything they don't understand. So easy overloaded this new generation is.

What makes you think I don't understand it? Just because I don't worship everything Williams wrote in the 70s? You don't like the Potter scores, I find parts of Williams' older scores dull. I never outright dismissed any of the scores. As I said, there's at least one (usually more than nine) tracks in one album that I really enjoy.

[SeekUYoda 0]

In time, you'll all see the light.

Morlock- who's liked at least one cue of every single JW score since 1970.

While in school, I had to play or listen to works by lots of composer I didn't like. I especially had a mental block concerning Hindemith. Once I spent a couple weeks playing the Symphony in B-flat, though, my entire perspective on him changed. At first I just liked the ending, because he combined all the themes from that movement, and it sounded as though the piece were swirling around in a giant pot or something. Then I found other things I liked about the piece. Then I went back and listened to the horn sonata again - I heard it with new ears and I really liked it!

I found this happening so frequently that I decided to get rid of this closed-minded approach. I'm definitely not perfect at it, but I've found a whole bunch of new music that I previously would have rejected offhand as a result. When I get new Williams music, I know he's a genius and I already like so much of his stuff that it's much easier to find things I like - if the melody is boring, the instrumentation may be fascinating. Stanley & Iris, for example, is not a thriller the way The Imperial March or the Krypton Fanfare are. But the instrumentation is so atypical that it really makes me think. A Williams score with mostly piano, clarinet & flute? Interesting!

So, I am determined to always find at least one thing to like. I can also find things to dislike - from Hook, for example, "We Don't Wanna Grow Up" and "Banning Back Home" always get skipped when I listen to the soundtrack. Does that make me a "yes-woman?" Or have I seen the light?

:: "Smee's Plan" - Hook, John Williams

[Nemesis 244]

The fact that I love Williams music isn't based on that, that i is John Williams.

In the beginning I even don't knew the name of him, I only loved his music(I speak from my very early years).

I realised it years later, that all the music I love so much is by him (sure, there were of course other music too)!

Even if I don't like every piece of music he wrote, I found on all his cd's at least one track that was it worth to buy the album.

So at the beginning I only loved wonderful music but today I'm grown also to a big John Williams fan!

Nemesis

[pixie_twinkle 48]

Wonderful music has a name, and that name is....JOHN WILLIAMS! (Cue Raiders March...)

[JoeinAR 1,949]

let me ask any of you, are you always on top of your game? I don't need to hear your answer to know its NO.

Nor should any of you be expected to. Neither is John. Still despite whether we as individuals or as a group find John's music lacking, doesn't mean he didn't put 100% into it. Some films just arn't inspiring, yet that would discount a film like Lost World which is a 2 to 2-1/2 star film at best getting a 4 star(out of 4 stars) score.

And as Cerrabore correctly put me in the No man category, there are alot of John's score's I just find "boring" or not interesting, or lacking or bad.

I cannot for the life of me understand how Star Wars or Jaws be found boring. but then as the oldest of this group I do admit a fondness for the 70's, as I was then what many of you are now, in my teens. I can listen to Earthquake, and the Towering Inferno much easier than any of you because at the time I had these scores, there were not many films scores available with the name John Williams, yet these scores that I listened to had already infected me with the John Williams bug. So pardon my feelings of superiority, but I've know longer than most that John was a master, and I've had the pleasure with each successive score to prove what I already knew so long ago.

I can close my eyes and hear most of John's 70's stuff in my head, no stereo needed, much of the 80's is there too, but not all, 89 was a complete bust as far as I am concerned. The 90's isn't so prevalent, I can't for the life of me remember a single note of Shindler's List. I can recognize it if its played, but I find much of it not interesting, nor will I be PC about it. I still think parts of TPM are as amazing as anything he's ever done, but find nothing about AOTC except the last track to be worth listening to. The 21st century has been better. As anyone knows I am a huge Potter fan, and I love all three scores, I love Catch Me If You Can, and I think MR is good, as is AI. I've never warmed to Terminal but I've tried. I've been negative about Memoirs of a Gesha because thats usually the kind of score I don't like, but on the day of release I will make the required purchase. I'm so there for Rots and WotW. I really do look forward to both scores and their respective films/digitizations.

John will have his good scores and his not so good, and whether you or I like them all, or just a selection of them doesn't change the fact that for the last 30 years the man has been at the top of the game, his only rival now departed, and I've been along for the ride for those 30 years, its been a great journey even if I didn't like all the stops.

[Ray Barnsbury 8]

I should add that just the fact that it's John Williams music usually gives it a little boost for me; it's like a novelty, since he's my favorite and the reason I got into film music.

Ray Barnsbyry

[Incanus 5,713]

I do not like many of those early seventies catastrophe movie scores Williams did (besides them I enjoy almost all Williams has composed ).

The scores I do not like:

Towering Inferno (has only good Main Title and End Credits)

Eiger Sanction (main title is good)

Earthquake (The worst Williams score ever)

America the Dream Goes On song (the most hideously bloated patriotic song I have heard in a long time. I feel ashamed Williams has composed it).

Here are my two cents.

-Incanus who thinks himself a Williams YES MAN and is proud of it-

[Richard Penna 3,669]

As much as I'm a fan of JW, and try to hear as much of his music as possible, there are some times when it just doesn't appeal to me, as he has such a variety of styles. I also hate being told 'you can't call yourself a score fan if you don't have this in your collection' by reviewers. A score may be generally respected by most, but I accept that a lot of stuff I like isn't in everyone's taste, and so remarks like that, especially with Williams, are innapropriate.

A few examples are Schindler's List and Jaws. I've got the main themes and a few tracks from each, but I've never connected with either (possibly because I've never seen either of the movies). I respect them both as scores, but they just don't work for me as a listening experience. I also don't like much of his work from around the 60's and 70's such as Sabrina, Nixon etc. but I only really got into Williams with Harry Potter, although JP had given me a slight interest in film stuff before that...

I'm also an equally big fan of JNH and Tom Newman, so I don't have the time or energy to go that deep into JW scores, as I'm currently looking for older material from the others.

I think the fact that JW is a world-wide icon in film music that some people think he's 'invincible' (and I would like to be able to think that about all of my favourites - J.N.H, Tom Newman and Williams), but none of them are, and they've all composed stuff below par.

[pat_burke 0]

...I also don't like much of his work from around the 60's and 70's such as Sabrina, Nixon etc.

????????

[Richard Penna 3,669]

Got a bit mixed up there

I meant to say that I don't like much of his stuff from around 60's & 70's (except The Reivers), plus stuff like Sabrina & Nixon (the small period in mid 90's).

His filmography's big...it's hard to keep track of everything anyway.

[pat_burke 0]

Very true. But I often find the more I listen, the more I like. Especially when it comes to older scores of any composer.