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Besides, you can be a wonderful symphonic writer without ever being part of the 'concert scene'. In fact, many are better off outside it.
Fact is, NOT ONE of the RCP hacks is a "wonderful symphonic writer", or a "wonderful writer", or even a writer.
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If anything, film scores are more diverse and composers are inspired by more genres than ever before.
If the listener happens to be 3 years old.
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RCP Homepage: "Hans Zimmer - Under Construction"
If only!
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RCP Homepage: "Hans Zimmer - Under Construction"
If only!
I knew it. You're a secret Zimmer fan, checking his site regularly. Just like Yor.
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Not quite. I was looking for the homepage to insult Zimmer about his stupid and vapid remarks concerning earlier (and better) film music. Maybe it's not a coincidence his homepage is under construction. On some level, subconsciously no doubt, he may have realized finally that he's a complete hack.
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Not quite. I was looking for the homepage to insult Zimmer about his stupid and vapid remarks concerning earlier (and better) film music. Maybe it's not a coincidence his homepage is under construction. On some level, subconsciously no doubt, he may have realized finally that he's a complete hack.
Yeah, I'm sure he cares a SHIT what *you* think. An angry little man posting on a forum, LOL!
You know, he's more successful than you.
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Posted: |
Sep 28, 2013 - 2:00 PM
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By: |
Thor
(Member)
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Besides, you can be a wonderful symphonic writer without ever being part of the 'concert scene'. In fact, many are better off outside it.
Fact is, NOT ONE of the RCP hacks is a "wonderful symphonic writer", or a "wonderful writer", or even a writer.
That's a faulty comparison, because to my knowledge, none of the employees at Remote Control aim to be 'symphonic composers'. They operate within other musical expressions and styles, perhaps using orchestras as colour. That's no more or less legitimate than other expressions.
That being said, there have been some fine symphonic writing by certain RC composers over the years too, like John Powell and Klaus Badelt.
In any case, that's all beside the point and I don't know why you brought RC into it (beyond your fairly obvious "military agenda" against everything RC, Yor-style). The composers I had in mind were those who operate in a predominantly symphonic idiom, but aren't necessarily part of, or have no desire to be part of a concert scene -- Alexandre Desplat, James Horner, Alan Silvestri, Dario Marianelli and about a gazillion others.
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RCP Homepage: "Hans Zimmer - Under Construction"
If only!
3 months old to that board and you already win the award of the biggest fucking jerk around !
Congrats !
Oh and I have a website that Hans considers his page : http://www.hans-zimmer.com/
You're free to come... Wait, no you're not !
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Posted: |
Sep 28, 2013 - 4:07 PM
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By: |
Mr. Shark
(Member)
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Alexandre Desplat, James Horner, Alan Silvestri, Dario Marianelli and about a gazillion others.
James Horner began as a concert composer, before he realised that his pieces weren't being performed. Alexander Desplat when interviewed in December last year by ComingSoon.net at the press junket for RISE OF THE GUARDIANS, he told the interviewers that he was writing a concert piece. Not sure about the others you mentioned, though.
Anyway, to quote Bernard Herrmann 'our best composers write our best film music.' Too right he was. No need to study film composition, just study composition. The rest is instinct, a good ear and a bit of charisma.
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Posted: |
Sep 28, 2013 - 4:13 PM
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By: |
Thor
(Member)
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Alexandre Desplat, James Horner, Alan Silvestri, Dario Marianelli and about a gazillion others.
James Horner began as a concert composer, before he realised that his pieces weren't being performed. Alexander Desplat when interviewed in December last year by ComingSoon.net at the press junket for RISE OF THE GUARDIANS, he told the interviewers that he was writing a concert piece. Not sure about the others you mentioned, though.
Anyway, to quote Bernard Herrmann 'our best composers write our best film music.' Too right he was. No need to study film composition, just study composition. The rest is instinct, a good ear and a bit of charisma.
I disagree with your premise.
Studying composition is definitely a plus, but it's not a prerequisite. There is nothing in the 'job application' for a film scoring gig that says you have to be completely immersed in 20th century orchestral composition techniques. For a film like, say, CRASH (2005) or OBLIVION or DRIVE or MOON, it's more important to know your way around a synth and to be able to weave interesting textures from that.
It ALWAYS boils down to what the director wants, what his vision is and how he can get that through the music. It doesn't matter in the slightest where the composer comes from, as long as he can deliver that.
Mind you, I'm an activist for proper education in both film and music (especially since I am an academic myself), but I think it's important to stress that it will always be on a case-by-case basis, DEPENDING on the film.
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Posted: |
Sep 28, 2013 - 4:23 PM
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By: |
Mr. Shark
(Member)
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Alexandre Desplat, James Horner, Alan Silvestri, Dario Marianelli and about a gazillion others.
James Horner began as a concert composer, before he realised that his pieces weren't being performed. Alexander Desplat when interviewed in December last year by ComingSoon.net at the press junket for RISE OF THE GUARDIANS, he told the interviewers that he was writing a concert piece. Not sure about the others you mentioned, though.
Anyway, to quote Bernard Herrmann 'our best composers write our best film music.' Too right he was. No need to study film composition, just study composition. The rest is instinct, a good ear and a bit of charisma.
I disagree with your premise.
Studying composition is definitely a plus, but it's not a prerequisite. There is nothing in the 'job application' for a film scoring gig that says you have to be completely immersed in 20th century orchestral composition techniques. For a film like, say, CRASH (2005) or OBLIVION or DRIVE or MOON, it's more important to know your way around a synth and to be able to weave interesting textures from that.
Isn't the best of both worlds a better approach? I mean, shouldn't studying composition (whether formally or autodidactly like Elfman) AND knowing one's way around a synth or a modern DAW should be the ideal? Being a chameleon means more varied assignments, less pigeonholing, and greater artistic growth.
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Posted: |
Sep 29, 2013 - 1:19 AM
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By: |
Loren
(Member)
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What I'm trying to say is that the music stood out. It was memorable. Distinctive. No one could mistake one composers' work for another. This happened ALL THE TIME. And the feeling I got from that first viewing of STAR WARS was still there. As soon as the movie was over I had to have the album.
Now, this almost never happens. Goldmith, Barry, Bernstein and Poledouris are dead. The films I see now are worthless as far as their scores are concerned. The music is dull. Boring. Gone are the hummable melodies, the lush orchestrations and harmonies. Zimmer has poisoned everything.
Ridicolous.
You just don't listen to modern music, you just complain and think about old times music.
I really don't miss a big number of Barry boring scores, of Poledouris copy and paste scores, and nearly ALL of last Bernstein and Goldsmith without-soul scores.Not to mention, among the living, all last Williams scores (like Lincoln or Tin Tin which are actually horrible compared to best Williams we all know and have nothing superior to a medium Zimmer score).
Zimmer has refreshed film music, he is a continous innovator and sometimes even revolutionary.
Go back into your grave.
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What I'm trying to say is that the music stood out. It was memorable. Distinctive. No one could mistake one composers' work for another. This happened ALL THE TIME. And the feeling I got from that first viewing of STAR WARS was still there. As soon as the movie was over I had to have the album.
Now, this almost never happens. Goldmith, Barry, Bernstein and Poledouris are dead. The films I see now are worthless as far as their scores are concerned. The music is dull. Boring. Gone are the hummable melodies, the lush orchestrations and harmonies. Zimmer has poisoned everything.
Ridicolous.
You just don't listen to modern music, you just complain and think about old times music.
I really don't miss a big number of Barry boring scores, of Poledouris copy and paste scores, and nearly ALL of last Bernstein and Goldsmith without-soul scores.Not to mention, among the living, all last Williams scores (like Lincoln or Tin Tin which are actually horrible compared to best Williams we all know and have nothing superior to a medium Zimmer score).
Zimmer has refreshed film music, he is a continous innovator and sometimes even revolutionary.
Go back into your grave.
Now that did not help in this discussion at all.
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