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 Posted:   Sep 19, 2020 - 10:59 AM   
 By:   JohnnyG   (Member)

Michael Giacchino - "Married Life" from UP.

 Posted:   Sep 19, 2020 - 11:08 AM   
 By:   judy the hutt   (Member)

I guess I will be in the minority but it was Close Encounters/Kind by John Williams that nailed it for me to become a soundtrack freak.

 Posted:   Sep 19, 2020 - 5:05 PM   
 By:   Hedji   (Member)

The last 15 minutes of E.T. is some of the most perfectly scored film out there. Williams hit every beat for that prolonged finale. The flying sequence, the departure, it's just perfection.

I agree. But it did take two tries before he nailed it. Spielberg wanted more sweeping emotion when Elliot and E.T. sign "ouch" to express their broken hearts. So Williams revised that section.

Spielberg was right.

It was then that he "nailed it".

 Posted:   Sep 19, 2020 - 5:06 PM   
 By:   henry   (Member)

Bill Conti's score for ROCKY!

 Posted:   Sep 19, 2020 - 5:51 PM   
 By:   roadshowfan   (Member)

Hugo Friedhofer's entire Homecoming sequence for "The Best Years Of Our Lives".

The delicately nuanced finale for "To Kill a Mockingbird", where Elmer's sensitive scoring blends beautifully with the narration.

Rozsa's Madame Bovary waltz.

And the list could go on and on...

 Posted:   Sep 19, 2020 - 8:48 PM   
 By:   Dr. Nigel Channing   (Member)

“Hello Boo”

 Posted:   Sep 19, 2020 - 9:48 PM   
 By:   Nicholas_DW   (Member)

Poledouris’ Conan the Barbarian turned what could have been a really cheesy film into a fantasy epic. Can you imagine the film without Riders of Doom?

I think the movie would have been A-OK even if Poledouris hadn't scored it. Milius was firing on all cylinders here. That being said, I sure am glad Poledouris was able to work his magic on it. He certainly nailed it.

Goldsmith nailed Basic Instinct. Every note is perfect for the movie. I can't imagine any other music for the film. Same for L.A. Confidential.

 Posted:   Sep 19, 2020 - 10:25 PM   
 By:   other tallguy   (Member)

I was going to narrow the field to "When someone redoes the movie and the music HAS to come with it." But then I realized that that was going to include only films that were going to be remade / rehashed.

Even in that narrow band you can still split it into "People are going to notice the James Bond / Superman / Star Wars / Psycho / Mission Impossible / Star Trek theme isn't there" as opposed to "Hey, they included 'Windmills of Your Mind' in the dance scene, isn't that cute?"

In the case of the recent Mulan score Goldsmith didn't make the cut. (But in Ralph Breaks the Internet he did.) I didn't miss his score so much as I missed him, if that makes any sense. I didn't need his score to be referenced but I needed something to be as good as his.

The Mark of Zorro is amazing (and Newman nailed it) but I can't imagine anyone referencing it.

I'm trying to get non-Williams examples here, but the new Lost in Space show including Williams' theme is incredibly satisfying. (And Christopher Lennertz nailed it.)

Nothing definitive, just some thoughts.

 Posted:   Sep 20, 2020 - 11:21 AM   
 By:   Hedji   (Member)

I think there are some scores where "nailing it" is efficiency... not a wasted note. A well-spotted score that is indelible and iconic.

Probably Jaws, Raiders, and Star Wars from Williams are so well spotted. Every cue counts, and is just enough.

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