Minority Report [Original Motion Picture Score]

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Barnes & Noble - Andrew Velez
The sci-fi thriller Minority Report is the latest in the 30-year collaborative history between director Steven Spielberg and composer John Williams. Based on a story by Philip K. Dick, the futuristic Minority Report concerns Officer John Anderton (Tom Cruise), who's pioneered a system that allows police -- with the help of psychics -- to arrest and convict murderers before they commit any crimes. His system backfires when he himself is pegged as a murderer, rendering him a fugitive battling to prove his innocence. To reflect the story's complexities, Williams integrates symphonic and electronic music. Evoking the futuristic setting, the title opener zooms into action ...
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Editorial Reviews

Barnes & Noble - Andrew Velez
The sci-fi thriller Minority Report is the latest in the 30-year collaborative history between director Steven Spielberg and composer John Williams. Based on a story by Philip K. Dick, the futuristic Minority Report concerns Officer John Anderton (Tom Cruise), who's pioneered a system that allows police -- with the help of psychics -- to arrest and convict murderers before they commit any crimes. His system backfires when he himself is pegged as a murderer, rendering him a fugitive battling to prove his innocence. To reflect the story's complexities, Williams integrates symphonic and electronic music. Evoking the futuristic setting, the title opener zooms into action with otherworldly sounds, led by a swirl of violins punctuated by brass and pounding timpani. "Can You See?" blends mysterious, watery sounds with the power of a full orchestra, only to segue into "Pre-Crime to the Rescue," an electronic piece with a hypnotic quality reminiscent of a Bach fugue. Perhaps nowhere in the dramatic score is the fusion of electronic and organic sounds more effective than on "Visions of Anne Lively," on which the two are synched up to create a haunting, resounding loop. On a more traditional note, violins and muted brass lend a gentler quality to "Sean by Agatha." Building upon the success of his previous Spielberg collaborations, Minority Report confirms John Williams's mastery at capturing the listener's imagination.
All Music Guide - William Ruhlmann
Minority Report, a science-fiction crime thriller based on a Philip K. Dick short story about a time in the future when crime can be anticipated and punished before it happens, would not spring to mind immediately as a good vehicle for the style of film composer John Williams. The most traditional of contemporary score writers, Williams is known for lush, sweeping, orchestral music that adds an epic scope to overgrown serials like the Star Wars series and the Indiana Jones movies. But Minority Report is also a Steven Spielberg film, and Williams and Spielberg have worked together since the beginning of the director's film career. In his liner notes, Spielberg specifically references Bernard Herrmann's work with Alfred Hitchcock, and Williams certainly takes off from Herrmann here although characteristically, he softens the effects. Spielberg calls Williams "the greatest musical storyteller the world of the movies has ever known," adding that, "quite often you don't need the pictures to understand the musical story that John is telling you." If so, Minority Report must be a pretty hackneyed piece of work, since Williams' musical storytelling touches on numerous clich├ęs in conveying dread and suspense. The tone is simply not natural for him, and he falls back on stereotypes that sound like they come from movies from the '40s and '50s though he also appears to borrow here and there from more recent composers such as John Carpenter -- and even Philip Glass -- in creating discomfiting effects. The work is certainly adequate, but for the most part it has no particular flair, remaining merely functional. It isn't until the end, with, ironically, a track called "A New Beginning," presumably the music that plays under the credits, that the score starts to sound like Williams, and that's because this is one of his typical warm, melodic themes.
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Product Details

  • Release Date: 6/18/2002
  • Label: Dreamworks
  • UPC: 600445038523
  • Catalog Number: 450385

Album Credits

Performance Credits
John Williams [composer] Primary Artist, Conductor
John Williams Conductor
Deborah Dietrich Vocals
Technical Credits
John Williams [composer] Producer
Shawn Murphy Engineer, Engineering
John Williams Producer
Steven Spielberg Liner Notes
Stefan Bucher Art Direction
Patricia Sullivan Fourstar Mastering
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Customer Reviews

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  • Anonymous

    Posted October 1, 2010

    Williams and Spielberg Together Again

    It is a good thing that Steven Spielberg and John Williams met up on THE SUGARLAND EXPRESS, or else where would music be today? COntinuing their collaborations, Spielberg had created a masterful film for 2002 and Williams' score matches it perfectly. The music is more black and white of a film noir, as Spielberg says in the liner notes, and is excellant. The mood builds and the music is tense and extremely well put together. You can see the movie and other images as well reflecting from it. Thereby being my favorite movie and soundtrack of summer 2002, and possibly the entire year. The CD is 77 minutes, which go by fast, especially during the action songs.

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