So here it is, the intermission is over! The anticipation
recedes! The truth is revealed! But before you see exactly who I think is the
next likely inheritor of John Williams’ deservedly unique position in the art
of film scoring, I’d like to say that if you haven’t read Part I of this
series, then I suggest you do so now so you can get up to speed with the rest of us.
I’d also like to take this time to explain what I am and am
not doing.
Taste in music, much like a sense of humor, is often akin to
one’s sexual preferences. It’s not something you really choose. It just kind of
happens. That said, don’t complain about what I’m NOT doing here.
I’m not talking about who is necessarily better in terms of
scoring nor am I talking about who is more prolific or more of a house-hold
name. I’m talking about who is most like our dear old pal John. So let’s take a
look at the winners, shall we?
