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I dont get the hostility either- made a 'who cares' show, one I actually want to watch now.
Better then the usual SUUUUUPER SERIOUS Djwadi/Balfe/ etc ad nauseam drones samples and "sensitive" piano/string boredom Everything is draped in...
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Dwajadi scores for WESTWORLD and GOT are the best things out there.
If we had more of his "bor(ing)" music there would be no need for needle-drop scoring!
Brm
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Zimmer will be needle dropped because he is a great composer who writes memorable themes.
You may not like it. You may not want it.
Learn to live with it.
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Philip Glass is dropped into tons of films.
Many here would say it " all sounds the same".
If that is the case, how.come i recognize and can identify the cues?
Huh?
Brm
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It just seems like this is something LK specifically complained about in the early days of FSM - maybe it was in the review that notes the temp tracking rewrites of The Player in Get Shorty (which I still can’t remember even noticing!).
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I am really enjoying the series and the music. I don't have any problem with people who have a different opinion, but I am surprised to see some people actually seem to be angry over the "needle-drop" soundtrack.
For me, to have some of my favorite 1970s scores and composers accompany a huge movie star and top director in a major TV series is a real treat.
I have often wondered if some of the "old style" scores we love so much could have a place in today's environment. To see and hear how well Capricorn One, Andromeda Strain, Klute and other classics are fitting some of the sequences shows that they would totally work, given the right program and aesthetic.
Lukas
Yes! Absolutely agreed. The show actually celebrates the power of those legendary scores - they still are able to convey mood and atmosphere, even without the movies they were composed for.
Now that's powerful music.
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I have to ask, how is this "needle drop" scoring of using pre-existing music any worse than using classical music (which has been done for decades) as film scores. Is that any the less lazier?. Is what they did with Homecoming any worse than the "needle drop" scores of 2001 A Space Odyssey, Barry Lyndon, The Exorcist, Death In Venice, Elvira Madigan, etc. Or is it less offensive because they're using "classical" composers as opposed to the likes of Pino Donaggio and Michael Small? Not to mention Woody Allen who is the King of "needle drop" scores. Just askin'.
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It sure makes baggin' the OST for people like us easy enough.
I think I have everything that's been quoted on CD already.
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Posted: |
Nov 6, 2018 - 7:22 AM
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By: |
Solium
(Member)
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I have to ask, how is this "needle drop" scoring of using pre-existing music any worse than using classical music (which has been done for decades) as film scores. Is that any the less lazier?. Is what they did with Homecoming any worse than the "needle drop" scores of 2001 A Space Odyssey, Barry Lyndon, The Exorcist, Death In Venice, Elvira Madigan, etc. Or is it less offensive because they're using "classical" composers as opposed to the likes of Pino Donaggio and Michael Small? Not to mention Woody Allen who is the King of "needle drop" scores. Just askin'.
Because film music is specifically written for a particular film, story, scene, character moment.
Everything comes to a complete halt when I hear Aliens music in Die Hard. It ruins the climax because I'm suddenly jarred out of that films reality.
Regarding classical music in many cases filmmakers are creating visuals to go with the music where there was none before.
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Posted: |
Nov 6, 2018 - 9:03 AM
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By: |
Tom Servo
(Member)
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I agree with much of what Solium has said.
I think it's all so subjective and dependent on your own perspective.
If you like the film/show, the director/producer, etc., and how/when the music was used, then you don't mind them using "your" music from another source and the opposite is true if you dislike all those facets.
I've heard my faves being used as source music and loved it or hated it depending on how it was used and by whom.
My main (and selfish) concern and cause for alarm is that folks that aren't aware of those repurposed classic scores think they are original to the series/show/film in which they were used.
I want to shout "People! That's the score from Capricorn One! It's from back in the good old days of movies and isn't original to this piece of crap!"
The music cues on this series are so diametrically opposed to how current TV scores sound, no one is going to confuse them for being newly composed. Also, the show is pretty compelling and is aiming for the feel of a paranoia thriller of the 70's, making their choice of existing music cues appropriate and this, along with split screens, longer takes, the presence of Sissy Spacek, all make this show succeed in that aim.
Plus, it's so cool to hear bits of John Corigliano's Altered States score in an episode!
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It just seems like this is something LK specifically complained about in the early days of FSM - maybe it was in the review that notes the temp tracking rewrites of The Player in Get Shorty (which I still can’t remember even noticing!).
It is possible I have changed my opinion since I was 16. What a flake!!!
Lukas
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If you could read a boring new book, or re-read an old favorite, what would you choose?
And it's not like we didn't have movie scores consisting mostly if not primarily of stock music cues back in "the good old days". Every time you watch Die Hard, it's James Horner's music from Aliens at the climax where Karl gets blown away. Does that "ruin" the moment?
Yes! Big time as I just mentioned.
I´d say there is a big difference.
HOMECOMING - so far - has only used scores from other films made in previous decades.
DIE HARD has a spectacular score by Michael Kamen which is used throughout the film... and then one track from another film released one year earlier is dropped in. That is what is jarring.
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It wasn't just the ALIENS track that jarred.
Next up was a big sumptuous romantic piece by John Scott that was even more alien to what had gone before than ALIENS!!
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