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[...]I'm tired of composers that show promise with orchestral works or orchestra-samples works, who later on want to piss around in electronics creating synthscapes and other skippable material that only makes one or two people here on the board happy.
I would think a composer's job is not to make anyone here happy. If a composer is thinking about the people here, he or she isn't doing a good job.
Well, Hurwitz definitely isn't doing a good job by showing promise with an orchestral/jazz work (and winning an Oscar for it, no less!) and then call this approach "old fashioned" in a pejorative manner.
That's a mediocre aproach, to say the least. The only explanation for such attitude is because he may want go the "easy way" with electronic soundscapes, than keep developing with real music.
Saying that following this modern trend is the only way to get a job is also stupid. There are too many so called "composers" throwing uninteresting experiments that lack any strong features or characteristics.
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So, in other words, instead of rising as a promising composer with a style, you think better he end being another one in the interchangable crowd of experimentators.
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Don't forget that this seems to be just a soundbite. It may very well be that the electronic music is just part of the music concept and will be augmented by an orchestra. I guess we just have to wait till the film comes out. It will open the Venice Film Festival so we won't have to wait long for some comments on the actual score.
I for one can imagine that electronics can work very well on this film depicting the loneliness of the men in capsule and on the moon. It also may be a darker film than Apollo 13 so that the Americana approach would not work? Let's just wait and see (and hear).
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Amen to that, Thor. This thread has some very weird posts, with people deciding what this unseen film's tone should be and then deeming an unheard score to be wrong for it. Damien Chazelle (who, among other things, was Hurwitz's college roommate) has either chosen this approach or they chose it together. Hurwitz is not exactly foisting electronics on an unsuspecting director.
Incidentally, Justin Hurwitz is also a comedy writer, having written on this past season of "Curb Your Enthusiasm" as well as "The League" and an episode of "The Simpsons."
Wait, that's the same guy???
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Posted: |
Aug 29, 2018 - 12:56 PM
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By: |
SUH
(Member)
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To put you all at ease. The score is of course feauturing the orchestra!
Justin spent a year studying conducting before scoring this film.
Here's an article with Chazelle mentioning the score:
https://www.hollywoodreporter.com/features/damien-chazelle-oscar-winner-talks-ryan-gosling-starrer-first-man-1136395
'A week after our editing-room meeting, the director is in a control room at Sony's Barbra Streisand Scoring Stage. He's in his element here, even if his eyes are dark pools and two stress pimples have broken out on his forehead. On the other side of a glass wall, 80 ?or 90 musicians are tuning up, about to record the music for some of the more dramatic moments of First Man. Hurwitz is conducting, and he and Chazelle exchange brief verbal shorthand over an intercom.
"There's that long crescendo …" Chazelle starts.
"We're still giving the second half of the note a dive," Hurwitz cuts in. Then, to his musicians: "Everybody who has a 16th note, touch that downbeat before letting go. It can be almost a niente."
The music soars as, onscreen, a car sweeps across the city at night and Gosling (as Armstrong) stares out the window at the passing landscape, knowing he's leaving his wife for what might ?be the last time.'
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To put you all at ease. The score is of course feauturing the orchestra!
Justin spent a year studying conducting before scoring this film
Good.
One reason to score a film in a more traditional orchestral way, is to note date it. This is what one composer (I can't recall his name; an long-ago composer) said in an interview once, when asking about some science fiction project he scored; instead of going with electronics and futuristic-sounding stuff, he decided to score it like a regular film so the score would not be dated.
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I spoke too soon. From a user over at JWFan.com:
Just out of screening. Let's talk score - it's gonna piss quite a few of you (or at least the FSMers) off because fully orchestral this is not. In fact this film is a lot less music driven than all of his previous ones. The feel overall is very Gravity in that mix between electronics and orchestra, and there's a little bit of that theremin in there too! (You think it's a choir boy but....very nicely done). There are a few fully orchestral cues though which are highlights and there are moments in the film that the score takes center stage
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An intriguing quote from the Hollywood Reporter review of the film:
--- And the quiet majesty of the drama owes much to the infinite moods of Justin Hurwitz’s masterful score, from tender, melodic passages through echoes (intended?) of vintage Jerry Goldsmith to a rare burst of full-thrust power when the lunar surface is first glimpsed up close. --
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An intriguing quote from the Hollywood Reporter review of the film:
--- And the quiet majesty of the drama owes much to the infinite moods of Justin Hurwitz’s masterful score, from tender, melodic passages through echoes (intended?) of vintage Jerry Goldsmith to a rare burst of full-thrust power when the lunar surface is first glimpsed up close. --
Goldsmith? I´m in!
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So, Hurwitz will win another Oscar, what a reviews! 
DigitalSpy - http://www.digitalspy.com/movies/review/a865073/first-man-review-damien-chazelle-ryan-gosling-claire-foy/
"Chazelle's reluctance to take the camera out into space on previous missions pays off in the final act as the moon's landscape becomes nothing short of inspiring, matched only by the eerie soundscape that Mary Ellis and composer Justin Hurwitz carve out together too."
TheWrap - https://www.thewrap.com/first-man-film-review-ryan-gosling-damien-chazelle/
"Overall, it’s an impressively mounted film, from the seamless visual effects to the score by Justin Hurwitz, which is flexible enough to accentuate both the film’s tension and its earthbound humanity, to the always exquisite editing by Tom Cross (“Whiplash”), which plays a key role in establishing the characters, the stakes and even the passage of time."
ScreenDaily - https://www.screendaily.com/reviews/first-man-venice-review/5132087.article
"An expressive score by regular Chazelle collaborator Justin Hurwitz, which seems to rise and fall with the rockets and amplify the extreme stress placed on both their casings and the astronauts inside."
ThePlaylist - https://theplaylist.net/damien-chazelle-first-man-venice-review-20180829/
"And threading through it all, Justin Hurwitz‘s fine score moves elastically from plaintive harp motif to grandly booming symphony to (slightly clichéd) space-waltz, as the mood dictates. "
FirstShowing - http://www.firstshowing.net/2018/venice-2018-damien-chazelles-first-man-is-breathtaking-beautiful/
"The sound design and sound editing in this is remarkable, so perfectly created it will make the hair on the back of your neck stand up. And the score by Justin Hurwitz (who also worked on La La Land) is wonderful, unique and expressive in a way that magnifies our emotions just a bit more."
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Not familiar with Powell's United 93.
Need to hear more samples, pronto.
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