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James Horner- Dragonslayer
John Williams- Dragonslayer
Jerry Goldsmith- Dragonslayer
Basil Poledouris- Dragonslayer
Anyone other than Alex North Dragonslayer.
Baz would have been nice.
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James Horner for Star Trek 4 immediately comes to mind.
Bingo
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Oh yeah, I forgot about that terrible mis-fire of a score for the third B&T film. Yes, it couldn't have saved the film, but a final closing chapter fun orchestral score with dramatic moments from []b]Newman, would have still been great.
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James Horner for Star Trek 4 immediately comes to mind.
Bingo
Ah this seems to be a popular choice. Star Trek IV:Lord of the Hellfighters
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Hi Folks
Don't really wish it had different music but after Samson and Delilah I would have really liked to have heard a Victor Young Score for the Ten Commandments.
CC
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OH, goodness, how could I forget: "Psycho 3".
Anyone (other than Zimmer) than what we got in that film.
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I can think of two films I wish had a better score: Star Trek IV and Never Say Never Again.
Love them both, honestly can't quite understand the negative vibes folks throw at these scores. I thought each worked exactly right in the film, and added a fresh approach to aging franchises. (Well, both composers were not exactly treading new ground, so I mean within the franchises rather than fresh approaches by the composers.) But then I love both composers and don't much care what they do, I'm gonna enjoy it.
Me, I don't wish for this kind of thing. But there are times I do wish the music would quiet down or shut the hell up. Even with thousands of scores I enjoy for listening, there are times that music for me is too much for the scenes or film. I'm never sorry when there's no music in a given scene, or even movie.
Awakenings was one example where I thought the music was fairly killing the film with sentiment. Didn't need a different composer, just a more restrained approach. (He says about 30 years later after watching half the movie, so he may not be on track with this, memory being a pointy bird flying away in the night.)
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: Star Trek IV.
Love them both, honestly can't quite understand the negative vibes.
Probably to do with the film is the third chapter in a trilogy of sorts and since the prior two films were scored by Horner, the complete tonal shift into a different style didn't set well with some. The scores to TWOK and TSFS were so damned glorious, the music for TVH fell kind of flat as it abandoned all of the themes and the feel of the prior two. I imagine Horner would have come up with something along the lines of Cocoon.
I don't mind Roesnmann's score on its own as much, but it would be as if Lalo Schifrin came into do Return of the Jedi rather than Williams. The music would no doubt be fine, but far from what the trilogy was establishing.
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As someone there at the time, I've gotta say that IV never felt like the third chapter of a trilogy to me.
II and III are inextricably tied together, and yes of course, IV carries on the story - especially in the early scenes on Earth and Vulcan and the final sequence. But the movie went in a very new direction, the bulk of which has nothing to do with the story set up in II and III.
So I think the new direction in music was actually a good way to say "hey this isn't part three, we're doing something different here."
It's just not a fair comparison to ROTJ - which was the third official story in the franchise. Whereas ST IV is more like the 80th!
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I must agree with everyone who has listed GOLDENEYE. There are a couple of nice, quiet scenes that work for me, but this is a BOND film for crying out loud! It needed someone who could do action. The only action scene that works is the drive through St. Petersburg, and that's because it's scored by Norman & Barry! I don't know who would have been the right choice, but not this.
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As someone there at the time, I've gotta say that IV never felt like the third chapter of a trilogy to me.
I was there with ya and I went into it looking forward to the resolution of the story. Mostly because III ended on an unresolved note.
II and III are inextricably tied together, and yes of course, IV carries on the story - especially in the early scenes on Earth and Vulcan and the final sequence. But the movie went in a very new direction, the bulk of which has nothing to do with the story set up in II and III.
So I think the new direction in music was actually a good way to say "hey this isn't part three, we're doing something different here."
It's just not a fair comparison to ROTJ - which was the third official story in the franchise. Whereas ST IV is more like the 80th!
I see what you're saying buy in a way ROTJ did the same thing with the first act having literally nothing to do with the rest of the story. It existed to get Han free. After that, no mention was made of it. Also, other than Vader's revelation, there's no connection to Hoth or the events of TESB. Jedi is a resolution of a premise set up previously but once you get past the Tatooine portion, you can almost skip Empire from the first movie and not be lost. You just need to know Vader is Luke's father and Luke was trained by Yoda.
Harve Bennett considered it a trilogy, but Nick Meyer didn't because he was simply tasked with the middle portion.
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