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 Posted:   Jun 15, 2013 - 10:46 AM   
 By:   Octoberman   (Member)

I tend to not blame the composers fault, but rather the director's...


This^^.

Shit flows upward. The buck stops with them. Producers too.

 
 
 Posted:   Jun 15, 2013 - 11:06 AM   
 By:   miguel   (Member)

Aside from Michael Giacchino and Alexandre Desplat, today's film music landscape is bleak and unforgiving. frown


Agreed. I remember watching some of the Pirates from the Caribbean films and not being able to believe my ears. And that's just the first example that came to my mind. Yor is very right: Hanzimmer has done a lot of harm to film music.

 
 Posted:   Jun 15, 2013 - 11:17 AM   
 By:   Krakatoa   (Member)

Today I saw a terrific new film at a local US Chicago area movie house chain called "The Kings of Summer" with wonderful character development and a great story arc that had a total of four attendees in the theater for this movie while the latest superhero blockbuster (nothing against the latest superhero blockbuster) was on most of the other screens and apparently selling most of the tickets.

It will be interesting to see if smaller scale movies with character development and great stories (and interesting inventive thematic scores!) can continue to occur from time to time.

 
 Posted:   Jun 15, 2013 - 1:14 PM   
 By:   Mr. Marshall   (Member)

anyone seen or heard BEFORE MIDNIGHT?
The reviews for the film have been amazingly positive!
and the music is by Graham Reynolds who did the terrific score for A SCANNER DARKLY
brm

 
 
 Posted:   Jun 15, 2013 - 1:34 PM   
 By:   Morricone   (Member)

Aside from Michael Giacchino and Alexandre Desplat, today's film music landscape is bleak and unforgiving. frown

The landscape always shifts. 10 years ago there was this guy Desplat that I had over a dozen French scores by that blew me away. I kept pointing to him. But foreign CDs were a bit more expensive (Ha! Try and buy them now) and few were interested. He comes to the US and now is the hottest thing since sliced bread but those early scores remain for me his goldmine.

Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.

 
 Posted:   Jun 15, 2013 - 1:42 PM   
 By:   Mr. Marshall   (Member)

Aside from Michael Giacchino and Alexandre Desplat, today's film music landscape is bleak and unforgiving. frown

Gee, i don't have a single score from either composer (not that I haven't liked some of their work).

Like it or not, some of the best scores of recent years have been from superhero flics;
DARK KNIGHT RISES
AMAZING SPIDERMAN
CAPTAIN AMERICA
AVENGERS

imho
smile
brm

 
 Posted:   Jun 15, 2013 - 2:00 PM   
 By:   YOR The Hunter From The Future   (Member)

Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.

You are right about Baños. And there is also some other non-USA composers that are quite good, like Gustavo Santaollala, Javier Navarrete, Alberto Iglesias, Joe Hisaishi, Dario Marianelli, Fernando Velazquez, Naoki Sato, Marcelo Zarvos, among others.

It is very refreshing to see some USA directors working with these composers and YOR hopes they keep doing nice scores.

 
 
 Posted:   Jun 15, 2013 - 2:30 PM   
 By:   Morricone   (Member)

Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.

You are right about Baños. And there is also some other non-USA composers that are quite good, like Gustavo Santaollala, Javier Navarrete, Alberto Iglesias, Joe Hisaishi, Dario Marianelli, Fernando Velazquez, Naoki Sato, Marcelo Zarvos, among others.

It is very refreshing to see some USA directors working with these composers and YOR hopes they keep doing nice scores.


I remember when this fellow was on a tirade about film music many years ago. He went on about how they didn't write scores like GONE WITH THE WIND, SUNSET BOULEVARD, BEN-HUR, LAWRENCE OF ARABIA and THE GODFATHER anymore. I couldn't resist the set-up, so I added "and there were some great American composers too!" He didn't get it. The ones he mentioned were all born elsewhere and came here.

 
 Posted:   Jun 15, 2013 - 2:34 PM   
 By:   YOR The Hunter From The Future   (Member)

I remember when this fellow was on a tirade about film music many years ago. He went on about how they didn't write scores like GONE WITH THE WIND, SUNSET BOULEVARD, BEN-HUR, LAWRENCE OF ARABIA and THE GODFATHER anymore. I couldn't resist the set-up, so I added "and there were some great American composers too!" He didn't get it. The ones he mentioned were all born elsewhere and came here.

Who is "this fellow" you mentioned??

 
 
 Posted:   Jun 15, 2013 - 2:57 PM   
 By:   Morricone   (Member)

I remember when this fellow was on a tirade about film music many years ago. He went on about how they didn't write scores like GONE WITH THE WIND, SUNSET BOULEVARD, BEN-HUR, LAWRENCE OF ARABIA and THE GODFATHER anymore. I couldn't resist the set-up, so I added "and there were some great American composers too!" He didn't get it. The ones he mentioned were all born elsewhere and came here.

Who is "this fellow" you mentioned??


I forgot his name. He was at a film music concert at the Hollywood Bowl. MANY years ago.

 
 
 Posted:   Jun 15, 2013 - 3:17 PM   
 By:   Morricone   (Member)

I remember when this fellow was on a tirade about film music many years ago. He went on about how they didn't write scores like GONE WITH THE WIND, SUNSET BOULEVARD, BEN-HUR, LAWRENCE OF ARABIA and THE GODFATHER anymore. I couldn't resist the set-up, so I added "and there were some great American composers too!" He didn't get it. The ones he mentioned were all born elsewhere and came here.

Who is "this fellow" you mentioned??


I forgot his name. He was at a film music concert at the Hollywood Bowl. MANY years ago. But the idea is the same, most of these composers started elsewhere and for some their careers didn't start until their first Hollywood film. But for me I would love to hear Franz Waxman's LILIOM sometime.

 
 Posted:   Jun 15, 2013 - 3:31 PM   
 By:   Sirusjr   (Member)

Yeah, for me I get most of my recent enjoyment out of Japanese scores and the occasional French and Spanish score. Composers like Joe Hisaishi, Akira Senju, Naoki Sato, etc still write music of the style I enjoy and we are blessed that recent Hisaishi scores are still released on CD. I do quite enjoy a few scores that were put out from Hollywood films this year so far, just not the ones you might expect, so there is hope.

 
 Posted:   Jun 15, 2013 - 4:27 PM   
 By:   DeputyRiley   (Member)

I think film music today still continues to offer extraordinary, magical, and exciting scores and not a year goes by that I don't harvest a ton of new film music that thrills, moves, and/or satisfies me. I love contemporary film music as much now as I ever have, and I've been actively listening for the past 23 years.

 
 Posted:   Jun 16, 2013 - 7:40 AM   
 By:   Loren   (Member)

I think film music today still continues to offer extraordinary, magical, and exciting scores and not a year goes by that I don't harvest a ton of new film music that thrills, moves, and/or satisfies me. I love contemporary film music as much now as I ever have, and I've been actively listening for the past 23 years.

same here (just some more year)

 
 Posted:   Jun 16, 2013 - 8:08 AM   
 By:   random guy   (Member)

every once in a while we get a thread like this completely ignoring all the thematic and orchestral filmmusic out there and focusing on one or two scores to say filmmusic is dying and so on.

but what do I know

 
 Posted:   Jun 16, 2013 - 9:12 AM   
 By:   Dyfrynt   (Member)

I think film music today still continues to offer extraordinary, magical, and exciting scores and not a year goes by that I don't harvest a ton of new film music that thrills, moves, and/or satisfies me. I love contemporary film music as much now as I ever have, and I've been actively listening for the past 23 years.

I can only be envious! Because I have not been able to make that transition. The majority of the stuff (not just one or two examples) of today simply does nothing for me musically. I find it bland and dull.

 
 Posted:   Jun 16, 2013 - 9:19 AM   
 By:   Stefan Huber   (Member)

Another Zimmer moaning thread - keep 'em coming. I'm afraid it won't change anything, though.

 
 
 Posted:   Jun 16, 2013 - 9:42 AM   
 By:   Regie   (Member)

I think 'the sorry state of film music' is about the SORRY STATE OF FILM today....period!

What has happened to American cinema - that glorious legacy which brought us scripts from the GREATS such as Garson and Kanin, Donald Ogden Stewart, Samson Raphaelson, Casey Robinson, Wendel Mays, Preston Sturges, Dudley Nichols, Joseph Mankiewcz, Billy Wilder, Ernest Lehman, Clifford Odets....just to name a few?

Two nights ago I watched "The Dark Knight" (well, as much as I could before turning if off) and I was appalled. Nothing remotely interesting or nuanced for any character to say and so self-actualizing were the performances that each line, no matter how trivial, was invested with cosmic significance. Michael Caine was just an embarrassment, parodying himself as he does these days. No plot, one-dimensional 'characters', actors with that demonstrable arrogance and swagger so ubiquitous in American cinema of the last 25 years, an astonishing lack of acting skills from anybody, and - I'm terribly sad to say - our dear, late Australian Heath Ledger making a fool of himself right at the end. People just don't realize that playing parts in films like the character of Atticus Finch are just so much harder to achieve than donning whiteface, grimy lipstick and a contorted face and voice.

No surprise, then, that music is generic and more like the equivalent of sonic wallpaper. I'm over it!

 
 Posted:   Jun 16, 2013 - 9:30 PM   
 By:   yonythemoony   (Member)

I think film music today still continues to offer extraordinary, magical, and exciting scores and not a year goes by that I don't harvest a ton of new film music that thrills, moves, and/or satisfies me. I love contemporary film music as much now as I ever have, and I've been actively listening for the past 23 years.

I can only be envious! Because I have not been able to make that transition. The majority of the stuff (not just one or two examples) of today simply does nothing for me musically. I find it bland and dull.


It's your fault if you can't feel anything with new scores. I can give a list of scores where I can recognize and memorize the themes and orchestrations. Maybe because I'm not 70 years old, and I'm still able to get in touch with music.

 
 Posted:   Jun 16, 2013 - 9:33 PM   
 By:   yonythemoony   (Member)

Oh, here we go again. Every time a new Zimmer score comes out, the old farts start to whine.


Aside from Michael Giacchino and Alexandre Desplat, today's film music landscape is bleak and unforgiving. frown

The landscape always shifts. 10 years ago there was this guy Desplat that I had over a dozen French scores by that blew me away. I kept pointing to him. But foreign CDs were a bit more expensive (Ha! Try and buy them now) and few were interested. He comes to the US and now is the hottest thing since sliced bread but those early scores remain for me his goldmine.

Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.


I agree. Spanish composers are bringing some freshness into the film music sound. I'm still hoping that Ángel Illarramendi finally gets a break into US, since that he already worked in some spanish-british productions. His last two scores took two years to be released.

 
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