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Old 06-08-2009, 04:26 AM   #1
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How amazing is John Williams?

How fucking amazing is John Williams? Damn. I'm in the midst of a huuuuuuuge Harry Potter movie kick right now in anticipation of Half-Blood Prince and I just found out that he did the score for the first three HP movies which includes, of course, "Hedwig's Theme" which is the main theme of the series and has gone on to be used in the other two HP movies and is just a wonderful piece of music. You know it even if you may think you don't.

This is that real shit

And obviously there's his work on Star Wars, which is probably the greatest and most epic work I've ever heard a composer do for a film series. The famous tune played over the opening rolling intro, "Duel of the Fates", "Imperial March", and then whatever the hell the "Luke gazing out at the twin suns theme" is actually called, etc., etc. Beautiful shit.

Add on top of that all the stuff he's done for Steven Schpeelsborg. The fucking thrilling Indy Jones theme and the iconic themes for Jaws (this is undeniably classic), Close Encounters of the Third Kind, and Jurassic Park. Even his lesser appreciated work on shitty movies like Home Alone and Hook is great. I'm forgetting a lot of other stuff he's done, too.

I'm sure there are other composers who have written a lifetime of great tunes for movies but this guy deserves all the praise he gets. He's the biggest name in the business, and that's how it should be. Look at that body of work. Jesus Christ. This guy, this motherfucker John Williams, in terms of cultural impact and creating music that will last forever...he's got to be one of the most underrated musicians of all-time. Peace out.

Oh yeah, and if there actually are some film composers that you like better than Mr. Williams I'd like to get their names so I can listen to their stuff. Thanks. Peace out again.
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Old 06-08-2009, 05:20 AM   #3
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Deborah's theme is one of the most heartbreaking things ever recorded. His work in Cinema Paradiso is also well worth mentioning above.
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Old 06-08-2009, 09:05 AM   #4
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Old 06-08-2009, 10:09 AM   #5
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Originally Posted by GirlsAloudFan View Post

And obviously there's his work on Star Wars, which is probably the greatest and most epic work I've ever heard a composer do for a film series. The famous tune played over the opening rolling intro, "Duel of the Fates", "Imperial March", and then whatever the hell the "Luke gazing out at the twin suns theme" is actually called, etc., etc. Beautiful shit.
Amen. A couple summers ago I felt a whim to go to Best Buy and buy all 6 Star Wars soundtracks. One of the best ideas I ever had. That stuff is incredible.
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Old 06-08-2009, 03:48 PM   #6
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He has had a wide variety of incredible big orchestral scores (Superman, Star Wars series, Indiana Jones, Harry Potter) but as a fan of subtle scoring that perfectly fits the mood but doesn't take you out of the picture, my biggest appreciation for Williams comes from when he does something different and does it well, like with Munich, or even the jazzy mix up he brought to Harry Potter and the Prisoner of Azkaban (more and more reason why that film will always stand head and shoulders above the rest).

Oh and Jaws, you might of heard of it. One of the best suspense movies ever is just made even better because of it, even in spite of the incessant humming we get of the shark cue in American culture to this day.
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Old 06-08-2009, 03:49 PM   #7
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Or his excellent Minority Report score, evoking film noir as with the rest of the movie, but also having an extremely old sound, that added to the movie despite the future setting, so good, but doesn't bash you over the head.
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Old 06-08-2009, 04:00 PM   #8
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John Williams is my favorite composer because I'm more familiar with his work, but guys like Morricone, ("Ecstasy of Motherfucking Gold!!!") Bill Conti (check out the theme from The Right Stuff), Bernard Herrmann (Psycho and Taxi Driver), Carter Burwell (most of the Coens films).

Two of my new faves have gotta be Jon Brion (he's done almost all of P.T. Anderson's films and Eternal Sunshine) and Michael Giacchino (do yourself a favor and check out the end credits of Cloverfield).
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Old 06-08-2009, 04:03 PM   #9
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As much as I liked Up, Giacchino's score might have been the best thing abou tit.
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Old 06-08-2009, 05:33 PM   #10
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How could I have forgotten to include this Morricone masterpiece??

YouTube - Ennio Morricone - Days of Heaven

YouTube - Days of Heaven

or this one:

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Old 06-08-2009, 05:34 PM   #11
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Morricone's score for The Thing is kind of disappointing though. Sounds exactly like John Carpenter, which ordinarily isn't a bad thing, but if I didn't see the guy's name in the credits, I would not have known it was him.
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Old 06-08-2009, 05:38 PM   #12
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Isn't that a testament to his versatility? And more telling is that Carpenter used that template for most of his own scores after that. Morricone pretty much invented the "Carpenter Sound".

The score isn't used very much, but I think it's pretty effective when it is.
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Old 06-08-2009, 05:47 PM   #13
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As much as I liked Up, Giacchino's score might have been the best thing abou tit.
Yup. One of the better scores I've heard in recent years. I mentioned in my original little write-up in the other thread that it will no doubt be up for an Oscar.

Meanwhile, I'm still loving "Hedwig's Theme." Figured out how to play a little shotty version of it on guitar and I literally can't stop playing it.
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Old 06-08-2009, 05:54 PM   #14
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Isn't that a testament to his versatility? And more telling is that Carpenter used that template for most of his own scores after that. Morricone pretty much invented the "Carpenter Sound".

The score isn't used very much, but I think it's pretty effective when it is.
I saw Carpenter's films out-of-order, so it may very well be the case, but I do remember it being very similar to his score for Escape from New York. He had certainly used synthesizers in Halloween as well. Big Trouble in Little China is probably Carpenter's most dynamic and entertaining score, not sure how much that can be attributed to Morricone's work.

There's no doubt that it's very effective in its simplicity though. And there's that little shock sound that plays whenever a figure flashes across the screen or right before one of Blair's moments towards the end that's pretty damn awesome.
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Old 06-08-2009, 06:04 PM   #15
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I'd kill for Malick and Morricone to collaborate again before either of them passes away/stops working.
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