I decided to catalog my music this weekend. What a daunting task! I can't wait to see this list.
Ten years of...well, nothing notable that made an impact on me. You know how I feel about John. It's not that I don't like him or his work, it's just that it's so mundane and commonplace. Upon my initial reading I thought about William's work and not one score stood out to me. Slowly, they came back. Yes, Indiana Jones was an iconic score, but it's not one that i get excited about unless I'm watching the movie. I didn't think of Jaws until after our conversation, but you're right, the score to Jaws changed the world.
I then thought about the rest of his work and it all seems the same to me. But then I remember Catch Me if you Can and Schindler's List. Though I can only speak to the title track of the former, the later I know I have listened too a few times (but can't recall any melodies.) Oddly enough, Hook is one of my more favorite Williams moments and yet I have to be in the right mood to listen to that score.
Oddly enough, save for the initial tracks of both albums, I throughly enjoy Episode I and II scores. I used to listen to them while I was putting together puzzles or reading when I was still at home with the folks. I have more fond memories of those scores then I think I do of any of the rest of his work, but I don't get excited when I hear it. I think I prefer his Olympic peace to his scores quiet honestly.
no name in film music, I bet, is known to those outside its fanbase, than John Williams. Again, per our conversation, I want to challenge this notion.
My first thought was that Hans Zimmer was more known outside of the industry, but then I suppose that depends on what you are calling industry. I think that Zimmer's work is more well known as he as done over 100 films. Both his compositions and the films that he has worked on have been very diverse. It seems of late that there are very few composers that don't have writer's block and thus rework their previous scores and Zimmer has not been altogether innocent of this. Gladiator's waltz became Pirates of the Caribbean; Batman Begins became Da Vinci Code, yet on the whole I think that Zimmer's work is very diverse compared to that of his colleagues. (i.e. James Honer).
But then I thought about it some more and thought that perhaps Danny Elfman's name might be more known then either of the two afore mentioned gentlemen. After all, Elfman had his own band Oingo Boingo and thanks to Tim Burton Elfman's work is very well known. I do, however, feel that perhaps his name and reputation are more common place then his music, but I think that people would more readily listen to an Elman score then a Williams score as Elfman is more Romantic.
On the one end of the scale, Elfman's work takes us on the most introspective journey and brings us to our common denominator making us wonder who we are, why we are here and where we are going. Edward Scissorhands, The Family Man and Big Fish are perfect examples of this. On the other end of the scale, Elfman brings us sheer energy and drive. Such scores as Batman and Spiderman are offered as proof.
I would argue, however, that Micheal Kamen's work though not as popular or paraded has been more more important to the industry then that of Williams and is too often under appreciated.
no subject
What a daunting task! I can't wait to see this list.
Ten years of...well, nothing notable that made an impact on me.
You know how I feel about John. It's not that I don't like him or his work, it's just that it's so mundane and commonplace. Upon my initial reading I thought about William's work and not one score stood out to me. Slowly, they came back. Yes, Indiana Jones was an iconic score, but it's not one that i get excited about unless I'm watching the movie. I didn't think of Jaws until after our conversation, but you're right, the score to Jaws changed the world.
I then thought about the rest of his work and it all seems the same to me. But then I remember Catch Me if you Can and Schindler's List. Though I can only speak to the title track of the former, the later I know I have listened too a few times (but can't recall any melodies.) Oddly enough, Hook is one of my more favorite Williams moments and yet I have to be in the right mood to listen to that score.
Oddly enough, save for the initial tracks of both albums, I throughly enjoy Episode I and II scores. I used to listen to them while I was putting together puzzles or reading when I was still at home with the folks. I have more fond memories of those scores then I think I do of any of the rest of his work, but I don't get excited when I hear it. I think I prefer his Olympic peace to his scores quiet honestly.
no name in film music, I bet, is known to those outside its fanbase, than John Williams.
Again, per our conversation, I want to challenge this notion.
My first thought was that Hans Zimmer was more known outside of the industry, but then I suppose that depends on what you are calling industry. I think that Zimmer's work is more well known as he as done over 100 films. Both his compositions and the films that he has worked on have been very diverse. It seems of late that there are very few composers that don't have writer's block and thus rework their previous scores and Zimmer has not been altogether innocent of this. Gladiator's waltz became Pirates of the Caribbean; Batman Begins became Da Vinci Code, yet on the whole I think that Zimmer's work is very diverse compared to that of his colleagues. (i.e. James Honer).
But then I thought about it some more and thought that perhaps Danny Elfman's name might be more known then either of the two afore mentioned gentlemen. After all, Elfman had his own band Oingo Boingo and thanks to Tim Burton Elfman's work is very well known. I do, however, feel that perhaps his name and reputation are more common place then his music, but I think that people would more readily listen to an Elman score then a Williams score as Elfman is more Romantic.
On the one end of the scale, Elfman's work takes us on the most introspective journey and brings us to our common denominator making us wonder who we are, why we are here and where we are going. Edward Scissorhands, The Family Man and Big Fish are perfect examples of this. On the other end of the scale, Elfman brings us sheer energy and drive. Such scores as Batman and Spiderman are offered as proof.
I would argue, however, that Micheal Kamen's work though not as popular or paraded has been more more important to the industry then that of Williams and is too often under appreciated.