Posted by: Mark2006 <Send E-Mail> Date: Sunday, March 12, 2006, at 8:23 p.m. IP Address: 22.214.171.124
In Response to:
> Many of us have been writing about how well the score works on the album,
> which is true, but after I saw the film I appreciated the score even more.
> What we don't realize on album is just how incredible a job the Maestro
> does of matching the images on screen with these wonderful pieces. The
> sequence that the "Chairman's Waltz" underscores is beautifully
> fitting and adds an element that was not there before and, honestly, one I
> never would have imagined the scene having in the first place.
> Someone earlier compared this score to Crouching Tiger and to The Last
> Samauri and those scores and Geisha are so different. The manner in which
> Williams not only accompanies the film, but also uplifts it is what
> seperates it from other Eastern scores. The skilled use of sync points
> throughout the entire film are remarkable and I'd almost forgotten they
> are his hallmark. On the MIB II Dvd Danny Elfman talks about using sync
> points in a movie because "that's how he writes" but his are
> incredibly clumsy compared to Williams' masterful display in Geisha.
> In short, this score is a wonderful breath of fresh air that Williams
> continues to give us in the 21st century. From his new sounds in A.I. to
> the gray shades of Minority Report to the jazzy Catch Me If You Can to the
> wonderful Terminal, he has continued to re-invent himself and this year he
> should walk home with Oscar. Plus, he's done something the Academy loves
> -- written great music in an ethnic genre! Bravo, Maestro.