Intrada Soundtrack Forum

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http://www.mjefilms.com

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I-love-Goldsmith, yes-I-do...
I-love-Ber-nard-Herr-mann-too! EVERYBODY SING!!!

I first heard this score in the film and I rushed out to buy the album. It is very dark and modernistic, and one of the scores, along with Images, that I usually point to when people mention the stereotypical "Williams Sound." Williams really digs in to make this one work, and it is seriously intense. Interestingly, I haven't seen the film since I first saw it on home video.

I find that outside of his collaborations with Steven Spielberg, where I feel a lot of trust exists to allow him to be more harmonically challenging, Williams rarely gets to break away from his 19th century Romantic sound (often with those Baroque tinges), mostly because that's what he gets hired to do.

Hmmm... I wonder what the rights situation is with Images... such a probing, experimental score for a film by one of America's most fascinating filmmakers by one of the most preeminent film composers of our age in collaboration with a prominent figure in the New York art scene...?

It took a while for the score to grow on me, mostly because my first viewing of the film left such a bad taste in my mouth. What started out as a very haunting and powerful story turned into a simple-minded revenge flick, it really disappointed me. Solid dramatic scoring by Williams, though... even if I'm not going to go so far as to say I like it as much as a good chunk of his more "typical" film scores.

Back at ya later

I was under the impression that the master tapes for Images are long-lost.
A pity, since it IS A FANTASTIC score!

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I-love-Goldsmith, yes-I-do...
I-love-Ber-nard-Herr-mann-too! EVERYBODY SING!!!

When I worked for AMPAS, I attended the screening for Sleepers at the Academy's Samuel Goldwyn Theatre. It was supposed to have been a big film that year, but you could tell that the packed house had their balloon officially deflated about halfway in. Nevertheless, as the membership sat through the end credits over John Williams' urgent, palpable score, the heretofore quiet audience suddenly erupted into applause as his music credit filled the screen. Classy move, Academy. Small wonder that the film's sole Oscar nomination that year was for Williams' contribution.