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I guess I'm split a bit on X-Men III. Is it the best X-Men score? Probably. It's epic and thematic orchestral scoring on a bigger grander scale than any of the others and especially impressive since it was the worst film of the trilogy. But I find that much of it sounds like other things and lacks Powell's fresh voice found in so many other scores of his. It's got a key rhythm right out of Williams's Superman score (to be fair Ottman's score for the prior film leaned even more heavily on a rhythm from Mancini's Lifeforce!) I actually far prefer Hancock as a superhero score for him. More unique and interesting. Felt like Powell was more allowed to be himself and didn't have to contend with a temp track.
Now the one caveat to all of this is Powell's incredible Dark Phoenix theme in all of its incredible variations! That is one of his best themes and one of the best themes that ever graced a comic book movie. His theme for the winged mutant is also quite good. But the body of the score, while good, is a bit more generic and not quite at that level of Powell's best IMO.
Yavar
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It is unfortunate for quite a few it seems (going by the RT user score at this time), that you pay your money and not receive what you were expecting - at at least a minimum level (if you ignore the reviews that is).
It always surprises me that a website like Rotten Tomatoes gets so much credibility.
First: the oversimplification of thumbs up/down (or in this case red or green) never does justice to the reviews. If one bothers to read the whole review one would have to conclude that it neither is one or the other, unless it is the very rare case of a total rave or a total pan.
Second: the "user score" is highly debatable since no one knows how many people actually voted and whether it was the same people voting with many accounts - as it is very common in the internet age - in order to stir the perception.
In the end, one should always take into account what represents the statistic majority. If on RT 50 people decide to vote for or against a film, it is a not even a blip on the radar in relation to the millions of people who go to the theatre.
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Williams did publicly state that one of the reasons he wanted to score this current trilogy was because he didn't want anyone else scoring Rey's character, so he has shown a possessive nature towards this material.
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Posted: |
Jan 3, 2018 - 6:31 AM
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By: |
Matt S.
(Member)
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All of this definitely does seem to be at odds with JW's public persona. I was quite frankly surprised not to learn that he didn't care for Rogue One, but that he had even seen the movie. He's said repeatedly in interviews that he doesn't listen to other music, that he's always working, always writing, so anything else is a distraction. Maybe it's a bias because of his age but I always imagined him to lead a rather quiet, sheltered life apart from his own work.
I think this goes to show that however humble he is regarding each score, he truly understands that Star Wars is his magnum opus. For better or worse, it will define his career, and be in the very first line of his obituary. I have no doubt whatsoever that he WILL return to score Episode IX, health permitting. Perhaps his interest in hearing Rogue One and getting involved with Solo has more to do with who might take HIS place when he's no longer able to. He wasn't impressed by Giacchino, so he wants to see what Powell does with it. It could also be WHY he wants to write a theme for Solo; from what I've heard of the plot, there probably wouldn't be much reason to re-use any OT themes, apart from maybe a token appearance of the Imperial March. And so maybe JW wants to give Powell a new theme and see what he does with it, how he adapts an original Williams theme (since presumably Episode IX would need extensive quotations of OT and ST themes).
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Agreed.
If Williams indeed did not like Giacchino´s score it might also have to do with Giacchino always being called Williams´ natural successor. Maybe Williams wanted to spare Giacchino and himself the constant comparison and therefore pushed for somebody else. Also, suggesting Desplat again might have been a supporting nod since Desplat (for some reasons) could not score ROGUE ONE.
The whole thing with Williams and Giacchino reminds me of the anecdote Hugh Jackman has told about his encounter with Clint Eastwood. Jackman mentioned that people always told him he would look like the young Eastwood. Clint did not care for that at all, remained tight-lipped and walked away.
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I do not blame anybody for taking the story with a gigantic grain of salt. But it's also important to point out what the story does not claim, such as any general dislike of Giacchino's music by Williams (on that, who knows?). We all like some scores more than others, and so does John Williams. And just as I don't need some larger rationale to explain my reaction, neither does he.
Based on your account of Williams, I never took it that he dislikes all of Giacchino's music- just Rogue One, and given the whole Desplat leaving the project due to scheduling issues backstory, it's not as though Giacchino had a luxurious amount of time to score it (just coming off Dr Strange). I think it's situational and reasonable to understand that Williams might not have been enamoured with the end result rather than its author.
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