 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Would be great to see Broughton and Safan make a come back. But in today standards they are old school because they can write themes.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
David Newman unfortunately.
Don`t know why that is. Lately he scored 2 low budget electronic Scooby Doo TV scores and a low budget electronic score to the direct to DVD film A Christmas Story 2. All 3 films were directed by Brian Levant who has hired Newman almost always. Interesting to notice that Levant`s career obviously went downhill as well. I mean that man directed some big hits in the 90s. And now he`s doing low budget TV movies and low budget direct to DVD stuff.
The only major movie Newman did during the last 3 years was Big Mommas: Like Father, Like Son. And that score wasn`t exactly a huge orchestral work but more or less some suspense cues in a hip R ’n’ B style.
Compared to Newman`s high profile and hit movie output during the 90s and 2000s this is truly remarkable. I guess it has to do with knowing the right people and having the right connections. Obviously Hans Zimmer has better connections 
|
|
|
|
|
|
|
|
|
|
In the end, the WHY on so many talented composers aren't working anymore comes down to one man, and one man only. Hans Zimmer.
|
|
|
|
|
|
In the end, the WHY on so many talented composers aren't working anymore comes down to one man, and one man only. Hans Zimmer.
This is a sad, sad truth.
|
|
|
|
|
|
No, not quite. He doesn't admit it, but I've clearly seen signs of it every time I've met him over the last three years. At least he's working steadily -- if slowly -- with various projects, both film and otherwise.
What exactly did you notice?
|
|
|
|
|
|
|
|
|
|
David Amram!
He composed three superb scores for high profile fims in a row: The Young Savages, Splendor In The Grass and The Manchurian Candidate. One would think a prolific career scoring films would have been in his future but since 1962's Manchurian Candidate, he's scored only 3 feature films.
Sure he's scored some documentaries, shorts and 2 TV movies but all total, that's a mere 20 titles in 53 years!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 31, 2013 - 11:25 AM
|
|
|
|
By: |
kirksworks
(Member)
|
I wrote an article about Malcolm Arnold's score for the 1956 version of 1984, which appeared in Music from the Movies magazine. Arnold saw it, asked if I had the soundtrack. All I had was audio clips of music from the film which included sound effects and dialogue. I had isolated the music as much as I could, and of course the fidelity wasn't that great, but really, it's all I had available to allow me to focus on the music and write the article. Arnold's agent at the time contacted me and wanted to know if I could send Malcolm a CD of what I had on 1984, which I did. I sent two copies. Arnold signed one and sent it back to me.
I think Arnold's music for 1984 is brilliant, if somewhat dated. He apparently was thinking of using some material from it for a new symphony. Don't know if it ever happened, probably not. Sorry to hear all that info about his abusive personality. He wrote so many gentle melodies, and had such mastery of the use of the flute, that ugly side of him is a lamentable surprise.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
