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Comments about the soundtrack for Catch Me If You Can (John Williams)

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Re: Williams is burned out! <-- can we stop the Holst-comparison stuff now?
• Posted by: CS^TBL
• Date: Wednesday, January 28, 2004, at 3:34 a.m.
• IP Address: 62-221-215-55.dsl.fiberworld.nl
• In Response to: Re: Williams is burned out! (Thomas)

> Holts' "Mars: The Bringer of War". Thiis is Gladiator I'm

The Planets is a great piece, but do we really need to compare scores like Gladiator and Mythodea with The Planets all over again and again and again? It sounds almost as if ppl reacting like this want to make a statement: "I know The Planets, I know classical music, I'm cool"

Did anyone care that the shark-attack pulse in Jaws is kinda similar to the one in Le Sacre Du Printemps? I guess no-one does, it's a Spielberg film, it's an academy-award winner and it sortof marks the begin of a new filmmusic era. So, if you don't care about Jaws, then drop the "The Planets"-comparison for once..

Williams is a part of filmmusic history, nobody can ignore that fact. Zimmer might become a part of filmmusic history because he introduced synths and samplers to a scene where usually every sound comes from an orchestraplayer. Zimmer's early/mid 90's scores, are -to me- actually synth-tunes using orchestral samples. When listening to his 'notes', the trained ear will hear that the orchestral sounds are kinda typical. Usually an orchestrator wouldn't write such passages. I don't think that's bad btw, Crimson Tide is very good, and I'm generally not scared of synths and samplers. I'm also not the one who's complaining about the harsh metallic sounds Zimmer uses in his music, if some percussionist did that sound in an orchestra -using unconvential techniques etc.- nobody would have the arguement of the electronic harshness anymore.

When ppl start about self-ripoff stuff: imagine classical composers such as Tchaikowsky and try to get a list of the pieces he did (usually ranging in time from 20..40 minutes), now compare this list to composers like Williams who did hundreds of pieces lasting usually close to, or over an hour. Ofcourse, when you listen to Indiana Jones, you'll hear some themes from that period passing by, ET, Close encounters etc. Even today with Catch me, having a lil line from SW:AotC. Anyway, it's all _hidden_ in the score, only if you're a soundtrack-knowall you'll recognise it. I find that however less troublessome than Horner re-using his own and other's mainthemes (Beatiful Mind Bicentenial Man Sleeping with the Enemy (Jerry), Titanic Deep Impact, Land before Time Tchaikowsky (R&J) etc. etc.)

Don't forget Vangelis, when talking about early filmcomposers using synths and samplers.




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