{"id":3346,"date":"2002-10-19T18:07:43","date_gmt":"2002-10-19T18:07:43","guid":{"rendered":"http:\/\/www.jwfan.com\/?p=3346"},"modified":"2012-04-12T19:01:14","modified_gmt":"2012-04-12T19:01:14","slug":"minority-report-2002-album-reviews","status":"publish","type":"post","link":"https:\/\/jwfan.com\/?p=3346","title":{"rendered":"MINORITY REPORT (2002) – Album Analysis & Reviews"},"content":{"rendered":"

\"\"<\/a><\/p>\n

TRACK LISTING<\/a><\/p>\n

REVIEW #1<\/span>\u00a0(Includes Themes\/Motifs Description and Track-by-Track Analysis)<\/strong><\/p>\n

By Andrew Wick<\/p>\n

(There’s a mild spoiler warning. I don’t give away anything too big. There’s slight descriptions of a few scenes, but nothing drastic. It’s like saying “After the big confession of love, our heroes fight off aliens beasts,” if I were to describe The Arena from AOTC)<\/p>\n

Minority Report<\/strong>\u00a0was, to me, a conundrum. It was not what I was expecting to come from John Williams. Like Spielberg, Williams seems to be playing it safe o\u00adn this movie. That\u2019s not necessarily a bad thing, but I was expecting something really offbeat from Williams. I\u2019m thinking somewhere along the lines of the \u201ctechno\u201d in\u00a0AI<\/strong>, and the electric guitar in\u00a0Attack of the Clones<\/strong>. The absence of this wilder side of Williams will be a blessing to many fans, but a disappointment for others. After AI, I was certainly expecting to hear more electronics from this score, like in the Mecha World. It\u2019s another Spielberg Sci-Fi movie after all.<\/p>\n

Now that I\u2019ve said that, Minority Report is definitely worth the listen. For those unimpressed, I suggest watching the movie. No matter what people say, matching the visuals up to the music most always helps with a Williams score. It\u2019s very moody and dark music. As such, it\u2019s hard to get into. I put off writing any sort of judgment until after I saw the movie.<\/p>\n

I\u2019m the type of listener that o\u00adnly appreciates the music o\u00adnce it is known almost by heart. I rarely like scores upon first or even second listen. I was not surprised when I found Minority Report to be unimpressive. What really disappointed me though is that there seems to be no real \u201cEpic\u201d tracks. I\u2019m talking about those pieces where you know immediately that this will be the grandest track. AI had the\u00a0Mecha World<\/em>,\u00a0The Blue Fairy<\/em>, and\u00a0The Reunion<\/em>. Attack of the Clones had theLove Theme<\/em>,\u00a0Chase through Coruscant<\/em>,\u00a0Arena Battle<\/em>, and\u00a0Confrontation with Count Dooku<\/em>. (now that I write that, I want to say every track of these scores is the best!) The closest thing I found in Minority Report was\u00a0Anderton\u2019s Great Escape<\/em>\u00a0and\u00a0A New Beginning<\/em>. They didn\u2019t hit me over the head though. I should have known Minority Report would be a subtler animal<\/p>\n

By no means do I call the following a thorough or complete analysis. This is just as much as I can say about the Minority Report score after listening to the soundtrack as much as possible for four days and seeing the movie o\u00adnce. If I made any false statements, or you would like to point anything out, feel free to do so!<\/p>\n

The Themes<\/span><\/strong><\/p>\n

Pre-crime Motif: A driving motif used for scenes involving either the Precrime police department or running from almost call the motif thoughtful, but still pushing the scenes forward into intensity.<\/p>\n

Spyder Motif<\/strong>: Another driving motif. Very frantic strings play over scenes of the robotic spiders. This could also be a theme for hiding, as it\u2019s important enough to be included in the opening track.<\/strong><\/p>\n

Sean\u2019s Theme: The soft theme used for scenes involving the memory of Sean. The theme not o\u00adnly symbolizes Anderton\u2019s lost child, but his lost family in general. It is usually played delicately o\u00adn piano, but also o\u00adn strings. The theme matures at the end into a full orchestral statement during\u00a0A New Beginning<\/em>.<\/p>\n

Everybody Runs Theme<\/strong>: A heavy variant of the pre-crime motif that most of\u00a0Andertons\u2019 Great Escape<\/em>\u00a0is based o\u00adn. The end of the theme is what bares the most similarity to the pre-crime motif.<\/strong><\/p>\n

Memories: I\u2019d call this the AI type music. It\u2019s the light music at track 4, 2:50. It\u2019s not really a note for note statement, just a sort of motif.<\/strong><\/p>\n

Mystery Motif: This is what I call the up and down string music used throughout. Like Memories, it\u2019s a technique not so much as a theme. It\u2019s Bernard Herrmann\u2019s \u201cVertigo\u201d motif that Williams used previously in Episode II. Jerry Goldsmith used this musical idea in Star Trek: TMP without much flak, so I think Williams is safe. It\u2019s just a musical technique Herrmann invented, not so much plagiarism.<\/strong><\/p>\n

Visions: The ethnic vocals of Deborah Dietrich. This music usually accompanies scenes of Agatha and the other Precog\u2019s psychic visions.<\/p>\n

The Soundtrack<\/p>\n

1.\u00a0Minority Report<\/em>: Now I\u2019ve o\u00adnly seen the movie o\u00adnce, but I don\u2019t think this was ever used in the movie. It almost seems like Williams wrote a concert piece for Minority Report using the main themes and motifs from the score. It opens with soft drums, then Sean\u2019s Theme followed by the Pre-crime motif. The Spyder motif quickly enters. We hear a long quote of much of the music from this track. The light and airy Memory music plays afterward, then we hear the \u201cEverybody Runs\u201d theme. A sad version of Sean\u2019s theme plays, and then soon the music softens into the full orchestral statement of Sean\u2019s theme. Much of the end of this is repeated during\u00a0A New Beginning<\/em>, including the way the tracks end.<\/p>\n

As fellow JWFan.net poster Morn said, this track really symbolizes Anderton\u2019s entire journey through the film. It starts with Sean\u2019s theme, representing this loss. It then moves o\u00adn to the pre-crime motif, symbolizing Anderton move to afterward. The Spyder motif interrupts everything, much as Anderton\u2019s life was interrupted by his accusation of murder. Memory represents Anderton\u2019s refusal to give up the past. The Everybody Runs theme obviously represents his escape from the law. Sean\u2019s theme plays as he is finally ready to move o\u00adn, then the New Beginning version represents the situation of the end of the movie. I think this is a brilliant idea and a brilliant piece of writing by Williams.<\/p>\n

2.\u00a0\u201cCan You See?\u201d<\/em>: I believe this is the opening music for the movie, underscoring the vision of murder. (forgive me if I\u2019m wrong, I\u2019ve o\u00adnly seen it o\u00adnce!) It is very mysterious music, yet contains a lot of percussion.<\/p>\n

3.\u00a0Pre-crime to the Rescue<\/em>: A highlight of the score. The beginning is based o\u00adn a soft version of the pre-crime motif. Soon the action gets intense as Anderton closes in o\u00adn the suspect\u2019s location. Soft electronic pulses play out as the pre-crime team is o\u00adn their way. The music just blasts out intensity as Anderton desperately searches for the right house, then makes his arrest. The pre-crime motif returns as the suspect is arrested. Soft strings resembling play with a short and fast interjection of the pre-crime motif end the track.<\/p>\n

4.\u00a0Sean and Lara<\/em>: The first appearance of Sean\u2019s theme without counting the full orchestral version in the opening track. It is introduced o\u00adn piano as Anderton watches projections of his family in the past. Light \u201cAI\u201d sounding music plays as Anderton tries to interact with a hologram of his wife. This will appear o\u00adnce again in track 13, so I named it the Memories motif. Sean\u2019s theme breaks through the airy-ness momentarily. The track ends ominously with low brass and screeching strings.<\/p>\n

5.\u00a0Spyders<\/em>: The entire track is based o\u00adn the spyder motif. It is immediately introduced as the mechanical creature search the building for Anderton and never quite goes away. At the midway point, solo drums sounding very similar to those in AOTC\u2019s Chase through Coruscant begin to play as Anderton hides underwater. Some of the music then begins to resemble the poisonous centipede music in Chase through Coruscant. The music fades away anti-climactically as the Spyders leave.<\/p>\n

6.\u00a0The Greenhouse Effect<\/em>: o\u00adne of the less thematic cues. An electronic sounding bell opens the track. It reminded me of a part of Jerry Goldsmiths\u2019 \u201cTotal Recall.\u201d It could be homage to a fellow Philip K. Dick story, but it\u2019s probably just a coincidence. More low moody music continues for much of the track. An altered harmonica plays quietly, then the up and down dizzying \u201cVertigo\u201d music appears for the first time. I call it the Mystery motif. The Visions music makes its first appearance at the end to Deitrich\u2019s wordless vocals.<\/p>\n

7.\u00a0Eye-Dentiscan<\/em>: I immediately thought, March of the Villains from \u201cSuperman\u201d when hearing this. It\u2019s not plagiarized, but the back and forth melody that both share is what makes them similar. This is a fun track as Anderton literally loses a part of himself. The Vision motif appears as we see Agatha. The Pre-crime motif soon interrupts as they try to stop Anderton. Low drums play as Anderton and Agatha escape, then soon become faster.<\/p>\n

8.\u00a0Everybody Runs!<\/em>: This is a track which was helped by seeing the movie. This is really tense music based mostly o\u00adn rushing strings. Things begin to get hairy for Anderton and the music intensifies. It\u2019s an exciting scene to watch if you know the music, much like the aforementioned Chase through Coruscant of AOTC. The Vision vocals end the track.<\/p>\n

9.\u00a0Sean\u2019s Theme<\/em>: There isn\u2019t much to say about this track. It\u2019s a welcome breath of fresh air from all the low brass and intensity. Much like track 4, Sean\u2019s theme plays o\u00adn piano and is then accompanied by strings. This track ends the same way the opening and closing tracks do.<\/p>\n

10.\u00a0Anderton\u2019s Great Escape<\/em>: Never has there been a track title so befitting a scene. This is the penultimate action track of the score as we follow Anderton through multiple locations as he tries to shake his pursuers. What I call the \u201cEverybody Runs\u201d theme is the basis for much of the music. (Maybe a better name could have been picked for this to avoid confusion because the Everybody Runs theme does not appear in the track named Everybody Runs!) A lot of the music reminds me of o\u00adn the Conveyer Belt from AOTC. Unsurprisingly, the same thing happens almost verbatim in both scenes. Watch the movie and find out. The track ends with a fanfare as Anderton makes his final \u201cgreat\u201d escape.<\/p>\n

11.\u00a0Dr. Eddie and Miss Van Eych<\/em>: Another low and moody o\u00adne. The music serves it purpose as we get the impression that not everything is right with what\u2019s going o\u00adn. The music reflects the confusion and strangeness that Anderton feels.<\/p>\n

12.\u00a0Visions of Anne Lively<\/em>: This o\u00adne starts off with intensity (I\u2019m sorry to use that word so much) then the pre-crime motif rears its head in frantic mode. The Vision vocals return in probably their defining moment. Dark and depressing underscore follows, and then the vocals return. A short version of the up and down Mystery motif ends fades out the track.<\/p>\n

13.\u00a0Leo Crow\u2026 The Confrontation<\/em>: After even more moody and dark music the up and down \u201cVertigo\u201d strings appear. Sean\u2019s theme is played in the same way the light Memories motif was. Almost murderous strings break into this as Andertons is filled with rage. The music quickly reaches anti-climax and quickly becomes quiet and ends.<\/p>\n

14.\u00a0\u201cSean\u201d By Agatha<\/em>: Shmi\u2019s Death motif from AOTC makes an appearance. I certainly don\u2019t mind, but others have pointed to this a fault of Williams\u2019. I think it\u2019s just a part of his style. I don\u2019t mind if an artist re-uses a small idea o\u00adnce in a while, just as long as they don\u2019t to the extreme other composers have. The music itself is slow and sad, then the Mystery motif appears. Sean\u2019s theme is sadly played mid-way through. His theme goes through the works, being played o\u00adn multiple instruments, representing the multiple paths and accomplishments the character was to have taken. Sean\u2019s Theme finally plays o\u00adnce more over rising strings, signifying the imminent danger.<\/p>\n

15.\u00a0Psychic Truth and Finale<\/em>: Several small independent motifs play out and rushing strings accompany. The Vision Vocals make their final appearance as the precogs predict the future o\u00adnce again. The Mystery motif plays in full with the rising strings and falling strings at their best. Suddenly they are silenced. Another motif appears that repeats itself a few times. The finale here is more thoughtful. I was expecting this track to go all out, but circumstances of the movie do not permit it. A heavy string statement pronounces the climax.16.\u00a0A New Beginning<\/em>: I\u2019d call this track bittersweet. I still somehow feel sadness when I hear it, but we are not meant to. Most of it is a heavily orchestrated and mature version of Sean\u2019s theme. The symbolism here is that Anderton is starting anew with his family, so his family theme matures. The track resolves quietly but happily.<\/p>\n

It\u2019s a very complex score. It\u2019s not always easy listening. I think Minority Report is a great work though. It\u2019s a different animal from anything else Williams has done so far. I actually think writing this analysis doubled my appreciation for the music. It doesn\u2019t have any honest-to-God set pieces, but the score o\u00adn a whole is spectacular. The music doesn\u2019t excite o\u00adne like Episode II does. The music doesn\u2019t carry you to a magical world like Harry Potter does. It doesn\u2019t tug at the heartstrings with sadness the way AI does. What it does so is make you think. It\u2019s insightful, it\u2019s moody, it\u2019s subtle, it\u2019s even beautiful. As you can see, John Williams\u2019 last four scores have all done different things to the emotions. I\u2019ve said it before, and I\u2019ll say it again: That\u2019s what\u2019s great about Williams. He can write anything!<\/p>\n

— Andrew Wick<\/p>\n

REVIEW #2
\n<\/span><\/strong>
\nBy Jeff Commings
\n<\/strong>
\nWhat a fantastic movie, both in front and behind the lens! I couldn’t think of o\u00adne scene that amazed more than another, which says a lot about Spielberg’s devotion to this film.<\/p>\n

On to the CD review. As usual, I waited until after I saw the film to listen to this score. And after seeing the film I couldn’t drive home fast enough to hear the music again!<\/p>\n

A major highlight in the film and o\u00adn CD: the Spyder scene. From the second these creepy crawlers are introduced, Williams gives us a very intensive motif that doesn’t give up until the final moment of the scene. Thankfully, that theme gets a reprise in the end credits (which is track 1 o\u00adn the CD — it is indeed, Andrew).<\/p>\n

The theme for Anne Lively brings a human quality to the score, and I enjoyed every moment it appeared o\u00adn film and in the CD.<\/p>\n

Track 7, Eye-Dentiscan, is a such a fun track to listen to. Andrew mentioned the similarities to “March of the Villains” from\u00a0Superman<\/strong>, but there is also a nod to Alan Silvestri’s\u00a0Death Becomes Her<\/strong>\u00a0theme. o\u00adne note: I had some qualms about the music for this scene (where John is breaking into Pre-Crime), because it seemed too comical. But after listening to the music again and re-imagining the scene, I had a reversal of thought. After all, how would\u00a0you<\/em>\u00a0score a scene where someone is chasing his eyes?<\/p>\n

I’ve peeked at reviews of this CD made by fellow posters since it was released last week, and everyone’s saying how much they enjoyed Track 10, “Anderton’s Great Escape”. But I couldn’t enjoy the cue in the film and o\u00adn the CD because everything screams a replica of the conveyor belt scene from\u00a0Attack of the Clones<\/strong>. It’s amazing that in some parts it’s a shot-by-shot copy, not o\u00adnly in visuals but in the use of xylophones and punctuations of brass. A nice cue, indeed, but too familiar to enjoy o\u00adn its own.<\/p>\n

As always, the action element of a score jumps out at me quicker than the calmer moments. But the finale almost moved me to tears. A great end to a roller coaster ride.<\/p>\n

As Andrew said, Williams’ past four scores have explored completely different emotions and techniques. This o\u00adne ranks behind\u00a0AI<\/strong>\u00a0in terms of overall quality and equal to\u00a0Harry Potter<\/strong>\u00a0in terms of adding to the film’s visuals, and ahead of\u00a0Star Wars<\/strong>\u00a0in terms of coherence.<\/p>\n

I’m making a very early prediction: this score will be an Oscar nominee.<\/p>\n

REVIEW #3
\n<\/span><\/strong>
\nBy Aaron Brown<\/strong><\/p>\n

Minority Report\u00a0is the big Spielberg film that could. After the mass misunderstanding and disappointing box office toll of\u00a0Artificial Intelligence<\/strong>, the “wunderkind” came back with yet another great science fiction story. This film would have less mythology and philosophy. ‘Minority Report’ is based o\u00adn the short story by the late Phillip K. Dick who also wrote the story which later became ‘Blade Runner’. However \u2018Minority Report\u2019 is arguably his best screen treatment. I also believe the film was a box office success because it lived up to its trailer and had action. I believe this quality was o\u00adne of several reasons why it appealed to the masses that were put off by the intellectuality of ‘Artificial Intelligence’. Despite this Spielberg was able to recreate ‘Artificial Intelligence\u2019s pathos in ‘Minority Report’. Spielberg’s ‘Minority Report’ coaxs people into thinking in a ‘whodunit’ fashion without having to ponder deep ethical or philosophical questions. I was slightly disappointed by this but the film did subtly address some issues. It did so through the message that the future owns itself and is made by our own personal and collective actions. Secondly it rebukes blind allegiance to any system that is supposed perfect. So long as imperfect humans run anything the system is always imperfect. ‘Minority Report’ also makes the viewer question present day society’s course toward future. Would we like to have cars that drive o\u00adn the sides of building, advertisements that speak to us, or a national database that track us everywhere we go? All these are questions for society to answer. Although ‘Minority Report’ is a drama, ‘Minority Report’ deftly turns to humor to relieve tension. That was another quality that ‘A.I.’ did not have. It liked how it would often turn up in situations that here often dead serious without seeming forced. That is a sign of skilled writing. Credit should definitely be given to Scott Frank and Jon Cohen for the writing of the screenplay.<\/p>\n

Surprisingly John Williams’ score for the film has been greeted with less adulation from reviewers. The score does not attempt to be as futuristic as ‘A.I.’ Instead it focus o\u00adn the journey of a human character and emphasize this humanity. Heavy strings and brass often dominate the score. Williams use female vocalist Deborah Dietrich to symbolize the thoughts of the precog Agatha. The score at times reminds o\u00adne of\u00a0Star Wars: A New Hope<\/strong>,\u00a0Close Encounters<\/strong>,\u00a0Jurassic Park<\/strong>, and ‘A.I’. The major theme for the film is the love theme for Anderton’s son called ‘Sean’s Theme’. It appears several times through the score. The score as presented in the film is not particularly noticeable as in many Williams’ films like\u00a0Attack of the Clones<\/strong>. It is most noticeable when is most dissonant like “Can You See”, supporting an action sequence like in ‘Everybody Runs’ and ‘Anderton’s Great Escape’. Williams makes light use of the synthesizer in the cue ‘Pre-Crime to the Rescue’. Besides the synth the cue remain quite ambient until the end when the motive for Pre-Crime become prominent. In the cue ‘Spyder’ Williams uses frenzied low strings that reminded me of the score for the other Dick inspired film ‘Total Recall’. In that film Jerry Goldsmith used the technique to underscore the scene when Quaid and Melina are being strapped into the brainwash chairs.<\/p>\n

The o\u00adnly major gripe I have with ‘Minority Report’ is its ending. Spielberg films almost always have a matter-of-fact ending. It wished the film had had a more open ended ending. However that was a little much to ask for in such a competitive summer film market that serves so much mindless cellulose termed entertainment. However I have no gripe about the way Williams score this finale. After over two hours of darkness and tension he presents the orchestra in all its beauty and brings the film to end with warmth and grace.<\/p>\n

I have found Minority Report’s score is a different beast from ‘Attack of the Clones’. I have listened to ‘Attack of the Clones’ about two times. I have listened to ‘Minority Report’ completely at least eight times over to date. It has a complexity that is not obvious at the first few listens. The score draws o\u00adne in for intimacy and understanding that is a rarity for a film that is this sucess. This film and score will make you laugh and cry and at the end smile.<\/p>\n

Aaron Brown
\narbro@yahoo.com<\/a><\/p>\n

REVIEW #4
\n<\/span><\/strong>
\nBy ‘Jasonblueeyes’<\/strong><\/p>\n

Having listened to this score every night for a week I know that I love it. “Sean’s Theme” is o\u00adne of Williams’ best melodies. Haunting, but containing a story all it’s own. “Spyders” is very Bernard Herrman like. The other tracks featuring sombre music does remind me of those moody film noir scores.<\/p>\n

My favorite track is #8. “Everybody Runs”. Unrelenting and never lets up for a split second. Definitly reminded me of “Scherzo for motorcycle & Orchestra”. The other outstanding track is #10. “Anderton’s Great Escape” Definitly a solid action piece. Again the influences of Herrman can be heard. This track also reminded me of the chase music in “Superfeats” from\u00a0Superman<\/strong>.<\/p>\n

A lot of the music is sombre, moody and light. Not unlike Williams’\u00a0Always<\/strong>. But the narrative focus is much stronger here, and unlike “Always”,\u00a0Minority Report\u00a0<\/strong>knows where it’s going. And is therefore much more engaging to the listener.<\/p>\n

Overall this score does remind me of other past works of Williams. It seems to blend Williams signature action pieces with his work in the scores for\u00a0A.I.<\/strong>\u00a0and\u00a0Close Encounters of the Third Kind<\/strong>.<\/p>\n

Definitely an absorbing musical journey. Despite recent ariticles and reviews written by many others I’d have to say that Williams is at or extremely near the top of his game.<\/p>\n

This is my first Williams CD score review. I hope I contributed intelligently and entertainingly.<\/p>\n

Until next time.<\/p>\n

– Jasonblueeyes<\/p>\n","protected":false},"excerpt":{"rendered":"

TRACK LISTING REVIEW #1\u00a0(Includes Themes\/Motifs Description and Track-by-Track Analysis) By Andrew Wick (There’s a mild spoiler warning. I don’t give away anything too big. There’s slight descriptions of a few scenes, but nothing drastic. It’s like saying “After the big…<\/p>\n

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