SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Incredibles 2
    2. Solo: A Star Wars Story
   3. Deadpool 2
  4. Avengers: Infinity War
 5. A Quiet Place
6. Ready Player One
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: The Last Jedi
        2. Gladiator
       3. Blade Runner 2049
      4. Batman
     5. Thor: Ragnarok
    6. The Avengers
   7. Spider-Man: Homecoming
  8. Avatar
 9. Dunkirk
10. Phantom Thread
Home Page
Menu Options ▼
Comments about the soundtrack for The Empire Strikes Back (John Williams)

Edit | Delete
Re: Better than Episode IV
Profile Image
• Posted by: Josh   <Send E-Mail>
• Date: Wednesday, March 9, 2005, at 3:02 p.m.
• IP Address: 71-32-183-183.bois.qwest.net
• In Response to: Re: Better than Episode IV (Dave)

> It's obvious to everyone that Star Wars borrows heavily from Holst and
> Wagner. Nobody will argue against that (if they're being serious).

> But what the hell is this: "John Williams just writes good themes,
> nothing more."

> Are you out of your f***ing mind?

> Williams is (in most people's opinions, including mine) the best composer
> alive at composing themes, but he's also one of the top 2 or 3 at
> underscoring the mundane moments in a movie. Star Wars is not a good
> example of this, since just about every moment in the movie features a
> character or concept he has written a brand spanking new theme for.
> His incorporation of leitmotivs is what defines Star Wars, practically.

> Many of Williams' other scores feature excellent underscoring without the
> use of leitmotivs: if you can buy the Hook bootleg, this is probably the
> best example available. There are a total of 35 cues on it (with a good
> array of thematic ingenuity and great underscoring), and maybe 3 of them
> aren't great.

> Compare that with an average movie score which has one hastily penned main
> theme, a dozen cues of discordant atonal whining on brass and
> overly-simplistic string writing, and then a finale cue which sums up all
> the cues into one horrific ending.

> As much as I think Horner is a derivative hack (whose scores hurt movies
> more than they enhance them), he is very accomplished at writing simple,
> string-dominated underscoring. Occasionally he'll throw in a four-note
> "evil motif." He should just stick to what he does best
> (producing best-selling songs with crappy singers who stretch an octave
> too high to simulate emotion) and leave brass-writing and thematic
> excellence to someone who can handle it. John Debney, John Williams, Danny
> Elfman, John Ottman, Michael Giacchino, Alan Silvestri, James Newton
> Howard... to name a few.

AMEN! One of the things that originally made me really enjoy Williams' scores is the fact that he writes some really interesting underscore. Dave just described exactly how I feel about some of Horner's work. If anyone thinks that Williams does not write good underscore, they are insane.




Comments in this Thread:     Expand >>


Copyright © 1998-2018, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.