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Posted: |
Jun 14, 2004 - 1:51 PM
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By: |
Morlock1
(Member)
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One of the best sequel scores of recent years (and one of the best in general IMO) was Mummy Returns, which did not use Goldsmith's themes as a base.
I think that is great because it gave two composers a crack at the same material, which although may not make a good film, obviously inspires great music.
But I think as sequel scores go, very few have been as good or as complete as Phantom Menace. That score's use of previous themes was bloody brilliant. RoTJ's is fantastic too, but TPM's was more subtle, and IMO more effective.
I just got Rambo III, and there's another great example. The previous themes really help ground the excellent score.
You also get score like Home Alone II, which are almost entirely rehashes of the original score. A few new themes, but except for one (christmas Star), the original ones are extremely dominant. But I think that is more of an exception than the rule.
So overall, WHEN a composer does build on a base he created in a previous film, it usualy can lead to wonderful results.
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All generalisations are false. Including that one. ;-)
Sometimes. The Empire Strikes Back is greater than A New Hope. But Return Of The Jedi is less great, because it mostly just re-hashes.
Damien Omen II is weaker than The Omen, for although Jerry does something fresh with the title music the remainder is a lazy re-hash of the original music. The Final Conflict is arguably the best but that abandons all of the previously established themes.
Star Trek II is most certainly not superior to The Motion Picture.
I think we can prove by example that the assertion is false. Now if you said "sometimes" then it would be different. Or if you said "WHEN a sequel score uses original themes and then adds more" it would be harder to contest.
Cheers
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Posted: |
Jun 15, 2004 - 4:04 PM
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By: |
Ray Faiola
(Member)
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One of the earliest and most illustrative examples is FOUR DAUGHTERS by Max Steiner. The score included a theme by Max Rabinowitch (which was soon to become the theme for Lux Radio Theatre) that was, in the film, composed by the doomed John Garfield.
In the sequel, FOUR WIVES, Garfield's pal, played by Jeffrey Lynn, develops the theme into a "Symphony Moderne." So Steiner not only adapted all the major FOUR DAUGHTERS themes and motifs for the underscore to FOUR WIVES, but wrote a short tone poem to boot.
In the third picture, FOUR MOTHERS, Heinz Roemheld took Steiner's theme for the girls, added a "B" section and developed it into a song ("Moonlight and Tears") and got the music credit on the sheet music.
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I would like to add Thomas Newman's 2nd BEST MARIGOLD HOTEL score to this list.
It improves on all the great themes from the first film and adds some extra themes that bring so much more to proceedings.
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Hey it might not have as many profound highlights as the first, but overall I rather think Superman IV *is* as good as it or at least very nearly...
Yavar
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I think that that sometimes the sequel music is better and sometimes it isn't. it depends on where the composer is in his/her creativity, and also on the movie itself. Back To The Future III score is Better than the original,but is great due in part to the first BTTF being really good. I would agree that Empire is better than A New Hope, but that Return of the Jedi is a bit lack luster. Angels and Demons is a better score than The DaVinci Code. Sherlock Holmes: A Game of Shadows is better than the original. Batman Returns is definitely an inferior score to Elfman's original Batman Score. I think usually, but not always, the sequel movie has to be better for the score to be better. Just MHO!!
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