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Minority Report
(2002)
Album Cover Art
Composed, Conducted, and Produced by:

Principle Vocals by:
Deborah Dietrich

Orchestrated by:
John Neufeld
Conrad Pope

Performed by:
The Hollywood Studio Symphony
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LABEL & RELEASE DATE
Dreamworks Records
(June 18th, 2002)
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ALBUM AVAILABILITY
Regular U.S. release.
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AWARDS
None.
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you have no qualms about John Williams looking for inspiration in the noir scores of yesteryear for a futuristic thriller, even if that technique yields a score less interesting than it could have been.

Avoid it... if you purchase Williams' scores simply for their harmonic resonance, because Minority Report is short on thematic beauty and long on dissonant chasing.
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EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #165
WRITTEN 6/14/02, REVISED 1/4/09
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Williams
Williams
Minority Report: (John Williams) After the crushing critical failure of A.I. Artificial Intelligence the previous year, director Steven Spielberg turned his sights on another futuristic story about humanity, but this time rooted in the film noir genre of old time detective thrillers. Not long into the future, a gifted handful of people can predict when crime is about to happen, allowing police to foil the event before it happens. The plot of Minority Report questions what would happen if one of the lead investigators is himself predicted of committing murder, sending him on a chase that may inevitably cause the murder in the first place. It's a circular examination of fate, destiny, and free will that makes the audience think as much as it had with A.I., but without the horrendous emotional baggage. For Spielberg, the positive response to Minority Report, despite the film's failure to achieve classic status, helped solve some of the ills caused by A.I., though working in the opposite direction was composer John Williams. There was no letdown in sight for Williams at the start of 2002, with sequels for the Star Wars and Harry Potter franchises in the near future and an Indiana Jones score perpetually on the horizon. A standout score for the maestro in the previous five years had indeed been A.I., a work that accentuated the ills of that picture but, in so doing, produced a beautiful listening experience. The half of its length that accompanies the disillusioned vision of a bleak future of technology and humanity serves as a close cousin to Minority Report, for which Williams was asked to compose yet another psychologically complex score about a disturbing future scenario. In most productions, and especially when working with Spielberg, Williams is involved with the project from the very beginning of shooting. In the case of Minority Report, however, Williams was shown the picture after it was nearly completed, allowing him to fully experience the psychology of the chase realized throughout the story. He also composed this score immediately after finishing Star Wars: Attack of the Clones, allowing him little preparation time for the Spielberg film.

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VIEWER RATINGS
2,876 TOTAL VOTES
Average: 3.06 Stars
***** 662 5 Stars
**** 439 4 Stars
*** 738 3 Stars
** 491 2 Stars
* 546 1 Stars
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COMMENTS
169 TOTAL COMMENTS
Read All Start New Thread Search Comments
superb soundtrack album
venkat - November 8, 2006, at 10:16 p.m.
1 comment  (2780 views)
Additional Orchestration
N.R.Q. - February 22, 2006, at 12:09 p.m.
1 comment  (2046 views)
performer-LSO?   Expand >>
j g - July 1, 2005, at 6:18 p.m.
2 comments  (2215 views)
Newest: September 3, 2008, at 7:07 p.m.by Kino
I wish the Americans could have invented pre-crime cops a few years ago
Julio Gomez - November 13, 2004, at 6:38 p.m.
1 comment  (1715 views)
Score inspired by Hermann? I don't think so!!!
Adam - February 22, 2004, at 7:32 a.m.
1 comment  (1603 views)
a song on the dvd speciel feature - does not sounds like a composition by Williams
mark - January 21, 2004, at 2:13 p.m.
1 comment  (1501 views)
More...


Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 73:55
• 1. Minority Report (6:29)
• 2. "Can You See?" (2:12)
• 3. Pre-Crime to the Rescue (5:48)
• 4. Sean and Lara (4:46)
• 5. Spyders (4:33)
• 6. The Greenhouse Effect (5:09)
• 7. Eye-Dentiscan (4:48)
• 8. Everybody Runs (3:10)
• 9. Sean's Theme (1:57)
• 10. Anderton's Great Escape (6:47)
• 11. Dr. Eddie and Miss Van Eych (3:08)
• 12. Visions of Anne Lively (3:27)
• 13. Leo Crow... The Confrontation (5:55)
• 14. "Sean" by Agatha (4:59)
• 15. Psychic Truth and Finale (7:10)
• 16. A New Beginning (3:29)

Notes Icon
NOTES AND QUOTES
The insert includes the usual short note from Spielberg, but nothing else about the score or film. The note is as follows:

    "John Williams has done a masterful job in his musical presentation of Minority Report. The plot and story find their roots in the combination of American film noir and the classic "whodunit" mysteries that were so popular in the era of Humphrey Bogart and filmmaker John Huston. John Williams and I have often marveled at the way Bernard Herrmann was able to contribute so much musical suspense to an Alfred Hitchcock picture. So in that tradition of mystery, suspense and film noir, John has fashioned a fast-paced, yet dark portrait of America in the year 2054 when the murder of one human being by another can foretold through the miraculous gifts of three precognitives. Unlike our other collaborations, John's score for Minority Report is not lush with melody; it is nonetheless brilliant in its complexity and forceful in its rhythms. It is the kind of music that will start in your spine and eventually find its way to your heart in the section titled "Sean's Theme." If most of John's scores for my films have been in color, I think of this score as his first one in black and white. But as in most of John's music quite often you don't need the pictures to understand the musical story that John is telling you. After all, John Williams is the greatest musical storyteller the world of movies has ever known."
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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. All artwork and sound clips from Minority Report are Copyright © 2002, Dreamworks Records and cannot be redistributed without the label's expressed written consent. Page created 6/14/02 and last updated 1/4/09.
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