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| This is a comments thread about Blog Post: Film Score Friday 12/28/18 by Scott Bettencourt |
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For many of us, LOST IN SPACE (and GILLIGAN'S ISLAND) were our first introduction to the musical palette of John(ny) Williams. One can only speculate how many "pleasurable echoes" in his subsequent symphonic scores enhanced the viewing experience. Williams's underrated THE POST seems purposely reminiscent of his '70s scores and is all the more evocative for that reason. By the same token, a shrewd new composer of a STAR WARS film would do well to replicate Williams's unique orchestral palette.
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Williams' work for Irwin Allen in the 60s is delightful. The theme for the later seasons of Lost in Space is one of my all-time favorite TV series themes.
Not just because of the J.J. Abrams connection, but I think Michael Giacchino would be the most apt choice to continue the Star Wars scores if Williams should have to step down for any reason. He's a very skilled musical mimic (as Incredibles proved) and Rogue One fit very snugly into the sound Williams established. I wonder if that was the reason Desplat left the project, that it became clear his work wasn't going to sound Williams-ish enough (though since I believe they share orchestrator Conrad Pope, that shouldn't have been a problem. It might just be due to the director who hired Desplat no longer being in control).
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Well it is pretty well known that there were substantial rewrites (by Michael Clayton auteur Tony Gilroy, who ended up sharing the script credit) and reshoots (possibly by Gilroy too) during the post-production period, so it's certainly possible that Desplat simply felt he couldn't do the job properly in the reduced time allotted. It would make more sense than them deciding that the guy who scored the last two Harry Potters couldn't score a Star Wars spinoff.
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I think the Netflix Lost in Space is the cure for anyone frustrated by the original series and Dr. Smith. Parker Posey's take on the character (shockingly to me, she was a fan of the original show) is an ingenious interpretation that somehow salutes Harris' theatricality while making the character much more complex and believable, and the rest of the show incorporates all kinds of updated, often exciting updates of the original show's ideas. And some nice nods to Williams' theme music too...
Agreed wholeheartedly! Well...with the caveat that the pilot (first two episodes) and finale of the season are bad...but luckily I’d heard that beforehand and was prepared. The episodes in between really are quite well done and even compelling at times. Parker Posey is inspired casting IMO.
Yavar
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