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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: Ken Applegate   <Send E-Mail>
• Date: Thursday, July 1, 2004, at 9:14 a.m.
• IP Address: 66-215-28-56.nwk-mres.charterpipeline.net
• In Response to: Re: Williams is burned out! <-- can we stop th... (CS^TBL)

So what you're saying is that just because John Williams's "pulse" reminds you of a little known piece of music, the Holst comparison is invalid or shouldn't be addressed?? Listen, when you get a teeny little motive from somewhere else, like in Jaws, it's one thing. When you steal an entire section of thematic material from one of the most popular pieces in history (and then try to convince whoever watches the documentary that he was composing a Vienna-style waltz on steroids), it's completely different AND it will and SHOULD be addressed. That is just how it is. It doesn't have to mean somebody thinks that they're cool because they know something about Classical music, but it's just what they know. Human nature can be a terrible thing sometimes, but that's that way it is so try not to let it get you so edgy.

And, don't forget that The Death Star blowing up in A New Hope is very Mars-esque and I'm shure that I'll be able to give you several more refferences after I go watch the movie again to refresh my details and specifics.

> 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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