> 1) If Lester hadn't replaced Donner, Williams likely would have written an
> original score for Superman II. How high would that score place on your
> list of scores you'd love to hear but that never happened?
I would have loved to hear it, although I wonder how much different it would have been compared to what Thorne eventually ended up contributing: Basing the Villain Material off the music heard during the Origial Movies' sentencing Scene is a completely valid approach, I think. Its entirely possible though that Williams could have come up with an entirey new Villain Theme, just like he wrote the Imperial March to replace the Imperial Motif from ANH.
In other words: Would it have been a copy-and-paste Job (like "Home Alone 2") or a classic Williams-Sequel-Score?
> 3) Now that we've had a bunch of post-Williams Superman scores, what's
> your preferred approach:
All of them are valid, depending on context:
> - adapt and arrange and pastiche Williams like Ken Thorne did for Superman
> II?
> - original score embracing Williams themes like Ottman did for Superman
> Returns?
These two approaches work if its a Superman-Movie set in the same timeline as the one Williams wrote the Music for.
Although Courages' score for "Quest of Peace" would be the better example (my second-favourite of the Franchise, by the way)
> - totally original score with brief nod to Williams like Goldsmith did for
> Supergirl?
This works if its *not* a Superman-Movie but still set in the same timeline (if its about a different Character in some way connected to Superman)
> - totally ignore Williams like Zimmer did for Man of Steel?
Works if its a Superman-Movie otherwise *not* connected with the OG-Films.
> - Repeatedly blare Williams themes like Fleming did for Superman?
Depends on how well the Score is executed and how well these quotes are implemented.
---
I've been thinking about this and came up with the same opinion every time: That I think using Williams' Themes in any meaningful capacity only makes sense to me conceptually if the movie itself is somehow connected to the OG-Films (like "Returns" was). That doesn't mean it couldn't have worked as an enjoyable Score, though. If, say, John Powell had been hired to score the 2025-Film and delivered an Alexander Courage-esque adaptation with a couple of new Themes mixed with the Williams'-Material (like he did for "Solo") it still probably would have made 100% sense to me, but I very likely would have enjoyed the hell out of it. On the other hand: What if Daniel Pemberton would have been given the chance to apply his trademark creativity to this assignment and played around with it? Would have been... interesting, I believe.
|