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What has he missed?
John(ny) Williams never was attached to monochrome international art cinema, such as Last Year at Marienbad or L'eclisse.
Nor did he score the type of play-to-film that Alex North or Elmer B. had done (e.g. Tennessee Williams, William Faulkner, Eugene O'Neill, etc.)
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A low budget one. He tends to get the cream.
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Posted: |
Sep 12, 2024 - 9:17 AM
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By: |
Thor
(Member)
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One could say the Biblical Epic, but they were dying out as his stock rose anyway (and we did get a little tease from him in that CE3K source cue...albeit homage-like).
Or the flashback scene from GIDGET GOES TO ROME, where he goes all Alex North. But yeah - that would be nice.
John(ny) Williams never was attached to monochrome international art cinema, such as Last Year at Marienbad or L'eclisse.
Yeah, Robert Altman was the closest he ever got to that aesthetic. In fact, he hasn't worked that much on European productions to begin with (depending, of course, on how you define "European productions"), even when you include mainstream ones. Some, and we all know them, but you can probably count them on two hands.
As I said in the other thread, I wish he had been afforded the opportunity to do more Altman-type films. I'm not sure what remaining genres are left that he didn't do? What about urban thrillers? SLEEPERS, but that's more of a drama. PRESUMED INNOCENT? Nah, more courtroom thriller. BLACK SUNDAY, possibly, but the urban takes a back seat. DADDY'S GONE A-HUNTING is too claustrophobic. I'm thinking maybe NIGHTMARE IN CHICAGO is about as close as you'll get.
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Any Mad Max post-apocalyptic wasteland films? Don't recall any.
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Adventures Of Tintin aside, he's never done an out-and-out animated film. Williams would have been great on an American Tail-styled emotional 'toon.
John Musker and Ron Clements allegedly asked him to write the score for TREASURE PLANET (which was temped with a lot of JW), but he declined because he was already busy with the Star Wars prequels and other commitments. In the end, James Newton Howard wrote the score and you can hear he nodded to Williams' adventure style here and there.
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I sometimes think he got to write a GODFATHER-style crime epic with MONSIGNOR.
The score certainly recalls that genre when listened to.
The main theme is an Italian-like minor mode melody in triple meter played on solo trumpet which may slightly recall Rota's "Godfather's Waltz", but all the rest of the score not so much, in my opinion.
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Posted: |
Sep 12, 2024 - 9:57 AM
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By: |
Thor
(Member)
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I don't think that he has scored many documentaries.
Not many, no, but a few. Spielberg's documentary shorts THE UNFINISHED JOURNEY and A TIMELESS CALL, as well as the highly impressive - but super obscure - feature length TV documentary INSIDE THE MOVIE KINGDOM.
Not just biblical "epics" are missing. Has he scored any films set in periods before the nineteenth century? Antiquity? Middle Ages? Renaissance? Anything earlier than THE PATRIOT?
Of course, I also forgot the finale of DIAL OF DESTINY, set in Roman times. But no, outside individual scenes, I can't think of any films or television shows set prior to THE PATRIOT (an no joke about a long time ago, in a galaxy far, far away, please). He has sometimes tapped into earlier modes, like the medieval-sounding bits in fantasy fare like AZKABAN.
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Evil alien invasion of Earth style film, something akin to Independence Day.
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Evil alien invasion of Earth style film, something akin to Independence Day.
Spielberg's WAR OF THE WORLDS?
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Oh yeah, never mind.
Though I would like him to score one that is not a remake/re-visioning/etc.
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