Donald Satz wrote:

>Could someone please explain to me the appeal that the John Williams film
>scores for those "larger than life" movies possesses? I hear nothing in
>them but the usual swashbuckling scores of yesteryear.  I had enough of
>that when I was growing up.

Agreed.  John Williams hasn't written a new score for twenty years.  But
he has it down...just swell the music during the emotional parts (with no
subtlety at all) and you'll win awards.  Good for John, bad for my ears.

>The minimalism of film scores has been an excellent trend.  It can
>add much to a good movie such as with American Beauty.  Still, take
>away the movie, and the music quickly loses all appeal; that's the basic
>problem with movie music.  Most of it can't stand on its own, and that's
>essentially why it irks me when the two are spoken of at the same time.

The consistent exception to that rule (which I essentially agree with)
is Ennio Morricone.  I have enjoyed the full-score albums for years.
He certainly has a couple of stinkers, but he is mostly excellent.

Daryl Loomis