Saturday, January 21, 2012

While waiting for SWTOR to download

I've had quite a few cues from Williams' Star Wars scores running through my head for the past few days while I was debating about getting into Star Wars: The Old Republic.  For some reason, yesterday or the day before, my brain shifted over to Indiana Jones and I found myself whistling a mash-up of "Duel of the Fates", "Truck Chase" and "Slave Children's Crusade" (which is quite possibly my favorite whistling song).  I caught myself  -and had a laugh at myself knowing Short Run's cues - realizing that most of my early memories are scored by Williams.  Maybe Williams is in my genetic make-up, according to legend my parents went to see Jaws on their first date (I was born a few years later).

I've been a long time soap-boxer about the influence that a score plays on a film (could you imagine Lawrence of Arabia without Maurice Jarre's score?) and the connection between film/score/memory but while I wait for the newest incarnation of Star Wars to download I realize that I can't wait for the Williams brass bang that accompanies the beginning of each Star Wars movie.  Not the scrolling credits, not the wipes, but those first chords of the intro.  Williams is a master of cues and themes and really his four best scores are instantly recognizable: Star Wars, Indiana Jones, Jaws, and Close Encounters of the Third Kind.  Williams has a distinct sonic profile (if that's even a term) which matches the Spielberg/Lucas genre.  I know this may sound absurd but could you imagine Horner or Morricone or Kyd scoring any of these movies?

After losing my train of thought and getting caught up in rewatching Temple of Doom I guess I'll just end this post with Indiana Jones could beat the shit out of Han Solo (plus out fieldwork him).

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