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Posted: |
Oct 28, 2013 - 11:56 AM
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By: |
JohnnyG
(Member)
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“Write a real Magnum Opus before he joins Goldsmith.” Hasn’t he already? If I had to pick a Williams’ Magnum Opus today, there would be a list. Would it be Jaws? Indiana Jones iconic themes? The stunning Superman? The heart-breaking Schindler’s List? Would it be the score that attracted Lukas and so many other people here when FSM started which would be Star Wars? I don’t know; he has composed so many scores that are memorable and iconic. I also love his less is more approach in Lincoln and Saving Private Ryan and such minimalist approaches perfectly served those movies. I don’t own all of his scores. His dissonant scores for Minority Report and War Of The Worlds didn’t appeal to me for stand-alone listening, but they perfectly served their movies. And isn’t that the function of a film score?
We may not get a grand, heroic, iconic theme for The Book Thief (which wouldn’t fit), but his music will serve the movie, and, “if he cares what history writes about him,” he’ll compose what is best for this movie. He has already made his mark in history; in fact, many marks! He has nothing left to prove because he has over 40 years of composing Magnum Opuses.
Yes yes he's done great music in his EARLY years.
So how does that relate to "ENDING on a strong note"?
But whatever. I mean, Jerry Goldsmith is forever remembered to have devoted his last days writing for Looney Tunes. --This is an utterly important piece of work right? Truly a hero's end right?
Who cares about "Looney Tunes"? With or without it, Goldsmith was, is and always will be one of our greatest musical heroes.
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Posted: |
Oct 28, 2013 - 12:10 PM
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By: |
facehugger
(Member)
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4. Film music is written for facehugger, not for the film (thanks to Joan for emphasizing that point)
Lol. "the film" pays for a film ticket and buys a CD. Sounds right.
The point is, sensible criticism takes into account the purpose for which the music was written, namely to serve the film. Since you haven't seem the film, you can't comment on that. Just one of many reasons why your criticism can be taken with a grain of salt, despite your attempts to give your 30-second snippet listening experience cosmic importance. The score won't be for everyone but that's normal. All the more reason to evaluate it based on how it works with the film.
- Adam
See I'm not saying a score should NOT serve its film. A score should ELEVATE a film, especially considering that Williams himself OFFERED to score this. He must be aspiring for something more than doing a serviceable job right? Otherwise why bother, except that he's doing this as a hobby?
As for 30-sec snippet, I wish I could be proven wrong once the whole score comes out. However, based on past experience with his recent scores, Tintin, Lincoln and Warhorse, I am more than likely to be right.
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Posted: |
Oct 28, 2013 - 12:16 PM
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By: |
facehugger
(Member)
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1. Book Thief is the equivalent of Looney Tunes
No. In terms of the films themselves, Book Thief is worse, at least Looney Tunes is not a fucking commercial exploitation of the Holocaust.
But that is not the point. And seeing that you fail to grasp the issue, I'll leave you be.
And your point of view is the official point of view of history, which you claim to speak for? Not even close as Hollywood is not shy about making films about the holocaust. Schindler's List was a big drag on John Williams' legacy? Nice try though.
- Adam
First, you seem to not know that Book Thief is a novel, a commercial fiction and Schindler's List is a true story.
Second, yes, I despise commercial products exploiting other people's trauma.
Third, I used to like Schindler's List when I was 13 but now I think it's 70% honest tribute from Spillberg to his people and 30% desire to earn his Jew gold. And I don't like that 30 percent.
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Posted: |
Oct 28, 2013 - 12:18 PM
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By: |
JohnnyG
(Member)
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4. Film music is written for facehugger, not for the film (thanks to Joan for emphasizing that point)
Lol. "the film" pays for a film ticket and buys a CD. Sounds right.
The point is, sensible criticism takes into account the purpose for which the music was written, namely to serve the film. Since you haven't seem the film, you can't comment on that. Just one of many reasons why your criticism can be taken with a grain of salt, despite your attempts to give your 30-second snippet listening experience cosmic importance. The score won't be for everyone but that's normal. All the more reason to evaluate it based on how it works with the film.
- Adam
See I'm not saying a score should NOT serve its film. A score should ELEVATE a film, especially considering that Williams himself OFFERED to score this. He must be aspiring for something more than doing a serviceable job right? Otherwise why bother, except that he's doing this as a hobby?
As for 30-sec snippet, I wish I could be proven wrong once the whole score comes out. However, based on past experience with his recent scores, Tintin, Lincoln and Warhorse, I am more than likely to be right.
Well, to each his own - I very much liked all three.
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Posted: |
Oct 28, 2013 - 12:35 PM
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By: |
Tom Servo
(Member)
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“Write a real Magnum Opus before he joins Goldsmith.” Hasn’t he already? If I had to pick a Williams’ Magnum Opus today, there would be a list. Would it be Jaws? Indiana Jones iconic themes? The stunning Superman? The heart-breaking Schindler’s List? Would it be the score that attracted Lukas and so many other people here when FSM started which would be Star Wars? I don’t know; he has composed so many scores that are memorable and iconic. I also love his less is more approach in Lincoln and Saving Private Ryan and such minimalist approaches perfectly served those movies. I don’t own all of his scores. His dissonant scores for Minority Report and War Of The Worlds didn’t appeal to me for stand-alone listening, but they perfectly served their movies. And isn’t that the function of a film score?
We may not get a grand, heroic, iconic theme for The Book Thief (which wouldn’t fit), but his music will serve the movie, and, “if he cares what history writes about him,” he’ll compose what is best for this movie. He has already made his mark in history; in fact, many marks! He has nothing left to prove because he has over 40 years of composing Magnum Opuses.
Yes yes he's done great music in his EARLY years.
So how does that relate to "ENDING on a strong note"?
But whatever. I mean, Jerry Goldsmith is forever remembered to have devoted his last days writing for Looney Tunes. --This is an utterly important piece of work right? Truly a hero's end right?
Oh my, how to address all that facehugger states here... first of all, Williams has nothing to prove to you or anyone else, ever. If after all the decades of fabulous music he's composed, you think he still needs some "magnum opus", then all that he has written is lost on you. The man's career composing for TV and film IS his magnum opus.
And I have a feeling that your definition of "magnum opus" is quite narrow. I mean, what does that even mean? A large scale score with orchestra plus choir and 12 distinct themes for all characters & situations in the film? You may not like it, but Williams has moved on as an artist from what he composed in the late 70's and 80's, but that doesn't equate to lesser quality, just the natural progression of an artist being true to himself as he ages. Deal with it.
Or is his magnum opus perhaps just a great score that enhances the film beautifully and subtly, which I feel Williams still does every time? If that's the case, even WAR HORSE applies, as its a gorgeous score with multiple themes, enhances the movie wonderfully and as a bonus, makes for a great album.
facehugger, the art and commerce of composing film does not abide by your own personal set of rules and qualifications and it never will. Williams can't control what movies are being produced, only what he finds engaging personally. If that's THE BOOK THIEF, then so be it. The man has more talent in his little finger than all of us here at this message board combined and I think we should just be happy that the man is still composing for film.
Instead of judging a score by 30 seconds, why not have no expectations and just allow yourself to be surprised when you first listen to it? Oh but wait, it's the internet's inherent asinine response to pre-judge every single creative thing being produced and usually judge harshly, somehow to try and prove that they're smarter and more discerning than everyone else.
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What on EARTH is going on in this thread. Have some class.
Agreed. The gist of the thread appears to be "I hope John Williams writes something good before he dies, I'll be so disappointed otherwise". Absolutely horrible line of thought.
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