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Jurassic Park. Don't understand the "heroic" main theme. There are no heroes in this movie. Just predators and victims. Score the movie in front of you.
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Its a fanfare for the wonder and majesty of the film.
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Jurassic Park. Don't understand the "heroic" main theme. There are no heroes in this movie. Just predators and victims. Score the movie in front of you. Yeah, this says more about you than it does about Williams' score
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Jurassic Park. Don't understand the "heroic" main theme. There are no heroes in this movie. Just predators and victims. Score the movie in front of you. Its a fanfare for the wonder and majesty of the film. Indeed, superheroes= Bigger than life. Dinosaurs= Bigger than life. Ignore the "heroic" comment and everything else that poster mentioned, it's entirely misguided. That theme/music is not capturing heroism, it's capturing adventure and majesty, which is why Journey to the Island is titled as such - the beginning of the main characters' journey, flying above the towering, majestic emerald canyons of the island to the adventure that awaits. The theme disappears when the adventure goes "off track" (figuratively and literally) and begins to return in fragments as the adventure gets back "on track" and reaches its conclusion. The other theme plays like a reverent hymn to convey the feeling of wonder and respect that the main characters have for nature and the dinosaurs (respect, a subtextual them in the film, which gets abused and leads to the primary drama). "Score the movie in front of you" is the worst, most un-nuanced direction anyone could give a composer. It first misses the fact that music gives an overall cohesion to films that are inherently assembled as edited fragments - if music scored what was literally in the film, it would be a chaotic mess matching the editing (the soundtracks to the later entries of Pirates of the Caribbean come to mind). It also ignores the complete opposite description that good composers give of scoring the subtext or characters' thoughts and emotions that live outside the realm of what is directly on screen, which is why the music exists to enhance it. Your advice actually is a recipe for creating the kind of score that this thread is about.
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Some scores mentioned here are missing the point in my opinion...mentioning DRAGONSLAYER orTHE LAST STARFIGHTER etc...its not meant to be about like or dislike a score but the use within the story.They both serve the picture in my opinion.Theres no misuse in terms of emotion ...Or am I wrong? Just listened to The Last Starfighter and while the opening title sounds like a cheap John Williams ripoff, the rest of the score sounds pretty good (minus the synths). I'd say it probably worked well in the film.
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Some scores mentioned here are missing the point in my opinion...mentioning DRAGONSLAYER orTHE LAST STARFIGHTER etc...its not meant to be about like or dislike a score but the use within the story.They both serve the picture in my opinion.Theres no misuse in terms of emotion ...Or am I wrong? You're pretty much on the noise I'd say.
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SHADOW OF A DOUBT by Dimitri Tiomkin, which was ( in my humble opinion) really bad for the movie.It ruined some scenes almost. Perfect example to illustrate the point. (Princess Bride is another one).
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Composers like Vangelis and Moroder sound like ear cancer to me (so does Jimbo Horner's music), but that doesn't make their scores a "bad fit". I think the original poster made his point pretty clear: music that seems totally out of place in the movie, personal preference not playing a part in that assessment.
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I think the music for the Star Wars Holiday Special is utterly atrocious, but technically you could argue that every film gets the soundtrack it deserves? Like, "Wild Wild West" is also a horrible score but so is the movie. Most older scores have music that is too syrupy for the film, that's an easy one. But contemporary scores actually I think are the best examples of ill-fitting music. "Dunkirk" to me has an extremely ill-fitting score for it. It functions on a literal level for ANYTHING about the pressure of impending danger - but it completely fails on any nuanced level to address character, story, setting. The actual story of Dunkirk I think deserved far more than musical NOISE.
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"Short Circuit" has really grating music, but again, the movie is pretty horrible too so it's hard to say whether that's ill-fitting or not. But those cheesy 70's pop sensibilities being ported over to the mid-80's don't work very well.
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