 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I think the original MCA Jaws albums plays wonderfully. Same with E.T. I like having the full score but as a listening experience, I like Williams soundtrack album choices.
|
|
|
|
|
|
Watched Jaws for the first time in decades. Probably over 30 years. I prefer the OST over the film score so I'm not to familiar with it. I was surprised how little music there is in the first half of the film.
That's quite a recurrent methodology in many Spielberg/Williams collaborations. Most of their films are scored more sparsely in the first 2-3 reels and then music starts to get more present as the film goes on. Of course there are exceptions in one way (TEMPLE OF DOOM is virtually scored wall to wall) or the other (SCHINDLER'S LIST, SAVING PRIVATE RYAN), but that seems the prevalent method.
|
|
|
|
|
|
Watched Jaws for the first time in decades. Probably over 30 years. I prefer the OST over the film score so I'm not to familiar with it. I was surprised how little music there is in the first half of the film.
That's quite a recurrent methodology in many Spielberg/Williams collaborations. Most of their films are scored more sparsely in the first 2-3 reels and then music starts to get more present as the film goes on. Of course there are exceptions in one way (TEMPLE OF DOOM is virtually scored wall to wall) or the other (SCHINDLER'S LIST, SAVING PRIVATE RYAN), but that seems the prevalent method.
Also, every Spielberg/Williams score opens musically with a downbeat tone, then closes with an uplifting one.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Watched Jaws for the first time in decades. Probably over 30 years. I prefer the OST over the film score so I'm not to familiar with it. I was surprised how little music there is in the first half of the film.
That's quite a recurrent methodology in many Spielberg/Williams collaborations. Most of their films are scored more sparsely in the first 2-3 reels and then music starts to get more present as the film goes on. Of course there are exceptions in one way (TEMPLE OF DOOM is virtually scored wall to wall) or the other (SCHINDLER'S LIST, SAVING PRIVATE RYAN), but that seems the prevalent method.
Also, every Spielberg/Williams score opens musically with a downbeat tone, then closes with an uplifting one.
Never noticed these trends. I guess it depended on the project.
Compare Main and End Titles from:
Jaws
Close Encounters
1941
Indiana Jones Quadrilogy (except Temple of Doom)
E.T.
Empire of the Sun
Hook
Jurassic Park and Lost World
|
|
|
|
|
|
|
|
|
|
How nice the same program has been reissued.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Awesome. Thanks for posting! I will pick up a copy.
I wonder if they will do the same for Jaws 2? I would love to make it a double-buy!
Now if they will just re-print the Back To the Future trilogy. I still need Part III and I will not pay the outrageous eBay prices.
My wife got me Jaws 2 for Christmas so I'm set. But I hope they do too. As for Back to the Future, I also need part 3 but I think that was produced by Varsese.
|
|
|
|
|
|
Yeah Part 3 is controlled by Varese in perpetuity, so out of Intrada’s sphere alas.
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
