OUTSTANDING SINGULAR PIECES OF FILM MUSIC BRILLIANCE

Nope, it's not.

Oh you.

"The Desert" from Howard Shore's SEVEN

This track isn't currently available commercially but here's hoping that Howe Records give this excellent score the treatment it deserves and releases it in a fuller form than the suites currently available. I've included a link to the final scene. It goes without saying that there's bad language, a bit of blood and plenty of spoilers...

http://youtu.be/1giVzxyoclE

I remember being impressed with this cue the first time I heard it. The ostinato strings that start the cue off certainly grabs the attention and Shore then goes on to use a limited palette in a complex series of ways to echo the drama unfolding on screen. I can imagine that some may find the relentless melding of the music and the editing a bit forced, but I love it, as it emphasises the drama. Shore could have punctuated the opening of the box but rather chose to wait until we see Freeman's character suddenly realising what's unfolding.

I do think that some of the elongated low string passages that are heard when the ostinato subsides can be a bit overly dramatic but keeping them in the low strings lessens that melodramatic feel.

But, it's a great track for a great scene and I'm off to listen to the track once more.

Fair enough. And I should know by now that your edgy responses are part of your game. So, fine then.



To explain further: No one disagrees that this is an outstanding action track. It just raised my eyebrows that you said it´s the best track Williams ever wrote (whether it was IYHO or not wasn´t even my point at that time; knowing you, that was a given). You must know that a remark like that would provoke questions and comments, given Williams´ accomplishments over the decades. The action cue "genre" alone is full of great contenders, like Indy III´s Scherzo, or SW´s Duel of Fates, but I think the more obvious choice would be from one of his many great and memorable main themes. Of course, such a choice would also be very boring, so what I got across from yours´ was that you tried to find something unexpected to make your choice more interesting. Again, this is not meant as a provocation, I do find your choice very interesting, because it spawns a discussion and clarifies something about you for me.

I should have been more careful with my choice of words about the latter, though. What I meant is that your choice somehow supports my understanding that you like more complex, innovative and even kind of quirky scores very much, or, to put it simply, scores with many notes. . That´s why - I thought - you liked stuff like Episode II´s Bounty Hunter hunt, the score from Remember Me, or, indeed, the quite experimental (IMHO) score for ASM2.

I know you also like the more conventional stuff (like Tyler´s Iron Man 3), but even then the themes are often more complex. At least that´s what I think. Of course I can be wrong about that, I know that. Just know that whatever drives your taste, I´ve no problem whatsoever with that, I just wanted to express my thoughts about it and how it corresponds to your opinion about modern scoring IMHO. I´m not trying to fit you into certain shoes.

Hook - You Are The Pan - John Williams

Goosebumping every single time.

Jurassic Park Welcome to Jurassic Park - John Williams

From the beautiful melancholic piano at the beginning to the rousing statements of two of the best themes ever written to it's sombre, ominous end, music doesn't get any better than this.

Good to see you again John ( metaphorically speaking )

Steven you smart ass it won several Oscars in 1946.
Tom

Before I lose it, here's everyone's choices so far...

1) The Ecstasy of Gold - THE GOOD THE BAD AND THE UGLY - Ennio Morricone
2) Leia's News / Light of The Force - REVENGE OF THE JEDI - John Williams
3) Genesis Countdown - STAR TREK II THE WRATH OF KHAN - James Horner
4) The Visitors / Buy / End Titles - CLOSE ENCOUNTERS OF THE 3rd KIND - John Williams
5) Ride of The Firemares - KRULL - James Horner
6) An Odd Discovery Beyond The Trees - THE BOY IN THE STRIPPED PYJAMAS - James Horner
7) The Enterprise - STAR TREK THE MOTION PICTURE - Jerry Goldsmith
8) The Blooding - THE FINAL CONFLICT - Jerry Goldsmith
9) Banishment / Forgiveness - EL-CID - Miklos Rozsa
10) Adventures On Earth - E.T. THE EXTRATERRESTRIAL - John Williams
11) Chevalier de Sangreal - THE DA VINCI CODE - Hans Zimmer
12) Ben's Death and The TIE Fighter Attack - STAR WARS - John Williams
13) The Second Coming - THE FINAL CONFLICT - Jerry Goldsmith
14) The Asteroid Field - STAR WARS THE EMPIRE STRIKES BACK - John Williams
15) Homer Goes Upstairs - THE BEST YEARS OF OUR LIVES - Hugo Friedhofer
16) 007 And Counting - DIAMONDS ARE FOREVER - John Barry
17) The Great Eaton - THE LADY IN THE WATER - James Newton Howard
18) Redemption - FLATLINERS - James Newton Howard
19) Mona - MONA, L'ETOILE SANS NOM - Georges Delerue
20) The Desert - SEVEN - Howard Shore
21) Main Titles / End Titles - LO IMPOSSIBLE - Fernando Velazquez
22) You Are The Pan - HOOK - John Williams
23) I Had A Farm In Africa - OUT OF AFRICA - John Barry
24) Welcome To Jurassic Park - JURASSIC PARK - John Williams

Look at all those "space" films.

-Erik-

^ Tom's the fanatic about that score. It's his all time favourite.

-Erik-

I see. I seem to remember that you advised me to buy it, which turned out to be a good idea.

MOTEL from John Barry's PETULIA


Quite possibly the laziest, laid back piece of lounge jazz I've ever heard. It's exquisite! One of the most chilled film music pieces ever, this is the silkiest silk turned into music, pure class.

When those strings come in at 1:01.... Heaven

I'm starving. Turning into bones ain't I.