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Posted: |
Aug 4, 2015 - 1:25 PM
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By: |
theOzman
(Member)
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Ah, I misread the meaning of the thread, which indeed is asking only for science fiction film scores, so that's my fault.
However, viewing all of the Ray Harryhausen films in close quarters, the "Star Wars" influence in the "Clash of the Titans" score seemed awfully strong to me, particularly after seeing the other Harryhausen films with scores by Herrmann, Rozsa, and Moross. The "Clash" score wouldn't be out of place in a space movie.
I can agree with much of that, as the music in COTT certainly is the same ballpark, thematically speaking, as SW. The way that I approach this topic is to think "Would this film have happened had STAR WARS not have come out?" I'm sure that it had some influence on COTT, but also think that it could have come out regardless of it. There is no mistaking that there are SW like influences in the film, such as the comical, mechanical owl who is a combo, of sorts, of R2-D2 and C3-PO, but I'm not convinced that it wouldn't have been made had SW not come out first.
Oz
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Some more...
John Barry - MOONRAKER
https://www.youtube.com/watch?v=0IKahbz75xo
John Morris - SPACE BALLS
https://www.youtube.com/watch?v=woNHtpc5Hbo
Toto - DUNE
https://www.youtube.com/watch?v=-Oki23Vus0U
Brian Tyler - THE CHILDREN OF DUNE
https://www.youtube.com/watch?v=dHOaaNT69qU
Trevor Jones - THE DARK CRYSTAL
https://www.youtube.com/watch?v=JSBixqFjddQ
Oz
I'm going to disagree on almost all of these. (I'll assume Space Balls had a SW feel, I haven't seen the movie in almost 30 years. And I've never seen Children of Dune.)
Moonraker, Dune, and The Dark Crystal all certainly got made as films in the wake of Star Wars. But Moonraker and Dune have scores that are nearly 180 degrees from Star Wars (I don't care who's kid wrote it).
Maybe I'm defining "Star Wars Inspired" too narrowly? I suppose TDK would fit in the "Big Sweeping Fantasy Score" category that was revitalized by Star Wars. But not as much as:
Ah, I misread the meaning of the thread, which indeed is asking only for science fiction film scores, so that's my fault.
However, viewing all of the Ray Harryhausen films in close quarters, the "Star Wars" influence in the "Clash of the Titans" score seemed awfully strong to me, particularly after seeing the other Harryhausen films with scores by Herrmann, Rozsa, and Moross. The "Clash" score wouldn't be out of place in a space movie.
I would definitely say that Clash was going for the Star Wars sound. I love that score.
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Posted: |
Aug 4, 2015 - 1:33 PM
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By: |
theOzman
(Member)
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Great topic!
I'd argue that KRULL is to Horner what STAR WARS is to Williams - A tour-de-force space opera of Wagnerian scope and vitality. I'd also argue that Horner's effort is the more compositionally adept, complex, and beguiling score as MUSIC and notwithstanding cultural implications and influence, but then that's just me.
More directly to the point of the question, I think scores that are clearly the product of producers saying, "Make it sound just like Williams/Star Wars!", is a narrower and easier list to amass: Craig Safan's LAST STARFIGHTER being the most immediate, obvious example in filmdom in my opinion.
Would Horner's BATTLE BEYOND THE STARS qualify, or might we argue that that score is more a product of the STAR TREK influence?
KRULL seems to be a touch sell in this category, but I'm willing to agree that there are some blatant, heavy SW nods going on here. The film, itself, has it's Darth Vader (the Beast) and his Stormtroopers (the Slyers) and your good guy fighting the Dark Side. We also have a Deathstar like presence in the floating mountain and the cyclops is like Chewbacca. The Glaive is liken to a lightsaber... hmmm... now how hard would it be to connect the music to any of this? It still sounds more like and adventure score than a sic-fi one, but there is no doubting that there are some STAR WARS like sensations to it. Ok... I'll agree.
Sheeeeesh! 
Oz
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Posted: |
Aug 5, 2015 - 5:58 AM
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By: |
Tall Guy
(Member)
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Has Morricone EVER done a JW-style swashbuckling score? Grand and symphonic, sure, but I can't think of any example that would fit the particular style we're talking about here.
The closest that Morricone has come to doing a "swashbuckling" type of score, if we can even call it that, was likely RED SONJA. Beyond that, he has one had a few moments into the realm of sci-fi (that I know of) and those would be THE THING and MISSION TO MARS (but neither of those, I feel, come close to trying to be the same league as STAR WARS.)
Oz
Oz is right to reference Red Sonja as the nearest thing to a swashbuckling score that I'm aware of in Morricone's extensive catalogue. There are also parts of Hundra that would fit the description - although that one always appears to be trying to make sense of the voices in its head, as some of it wouldn't be out of place in Novocento, and there's more than a touch of Mussorgskyan fury in it.
From memory, some of Treasure of the Four Crowns would also fit the bill.
Of course, none of these is a science fiction film. But then neither is Star Wars!
TG
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Posted: |
Aug 5, 2015 - 6:40 AM
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By: |
bobbengan
(Member)
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KRULL seems to be a touch sell in this category, but I'm willing to agree that there are some blatant, heavy SW nods going on here. The film, itself, has it's Darth Vader (the Beast) and his Stormtroopers (the Slyers) and your good guy fighting the Dark Side. We also have a Deathstar like presence in the floating mountain and the cyclops is like Chewbacca. The Glaive is liken to a lightsaber... hmmm... now how hard would it be to connect the music to any of this? It still sounds more like and adventure score than a sic-fi one, but there is no doubting that there are some STAR WARS like sensations to it. Ok... I'll agree.
Oz
Allow me to clarify my statement. I think, career-wise, KRULL is for Horner what STAR WARS was for Williams: A huge, romantic, chromatically-inclined and poly-thematic film score of Wagnerian/Straussian proportions, the level of compositional complexity I'd argue is actually many steps ahead of Williams' own work.
It leaves his TREK scores so far behind in the dust it isn't even funny - I know I'll get flack for that though from the people who "discovered" Trek II first and thus, via the ever-judgment-clouding haze of nostalgia, will claim Khan to be a better score (In all fairness, those films also called for a rather different approach than KRULL as far as musical development is concerned).
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Posted: |
Aug 5, 2015 - 8:50 AM
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By: |
Solium
(Member)
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KRULL seems to be a touch sell in this category, but I'm willing to agree that there are some blatant, heavy SW nods going on here. The film, itself, has it's Darth Vader (the Beast) and his Stormtroopers (the Slyers) and your good guy fighting the Dark Side. We also have a Deathstar like presence in the floating mountain and the cyclops is like Chewbacca. The Glaive is liken to a lightsaber... hmmm... now how hard would it be to connect the music to any of this? It still sounds more like and adventure score than a sic-fi one, but there is no doubting that there are some STAR WARS like sensations to it. Ok... I'll agree.
Oz
Allow me to clarify my statement. I think, career-wise, KRULL is for Horner what STAR WARS was for Williams: A huge, romantic, chromatically-inclined and poly-thematic film score of Wagnerian/Straussian proportions, the level of compositional complexity I'd argue is actually many steps ahead of Williams' own work.
It leaves his TREK scores so far behind in the dust it isn't even funny - I know I'll get flack for that though from the people who "discovered" Trek II first and thus, via the ever-judgment-clouding haze of nostalgia, will claim Khan to be a better score (In all fairness, those films also called for a rather different approach than KRULL as far as musical development is concerned).
I would say "Willow" is his most epic score.
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