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"Pushy"? Well, sure, but in a good way. But that´s the way reviewers treat scores these days. If it has a driving, recognizable melody it is considered bad because "it tells you how to feel". Sorry, but everything in a film tells you how to feel. The writing, the directing, the performances, the choice of camera angles, the sound design, the editing. The music is no longer allowed to do this?
And in this age of "irony" reviewers love to poke fun at "old school" scores (remember Yared´s wonderful "Amelia" which was ridiculed by many reviewers?). Instead, minimalist scores (Gustavo...) are always considered as wonderful, or the typical droning which can be taken for just sound design also gets high praise.
Sad.
I loved Williams´ score, by the way. Could you tell?
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If it's wrong to love this score, then I don't want to be right!
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Frankly Scarlet I don't give a damn.
Judy in Tucson
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What's Variety have to say about Mr. Reznor?
And yes, if you cannot tell - I do not like Reznor. I do not like his music. And I especially do not like his music in film. Period. But, to each their own.
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I will agree with Justin on one thing: I strongly - I mean strongly - disagree with the 'commercial' decision(s) to have a particular demographic always speaking English in an effort to connect with an English-speaking audience. Spielberg has always been guilty of this. It's one of the few things I actually respected Tarantino for when it came to Inglorious Basterds. I am not a fan of English dubbing tracks either. I watch foreign films as they were intended... with subtitles.
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Face it- the music we grew up loving is not well received by the masses...Whether they are a bunch of tone deaf assholes or whether we're a funny antiquated bunch is up to interpretation...
I remember working on a student film score where the director kept pushing me to lose the melody and keep the music in the background. I came to a point where I said "why don't we just NOT have music here at all?" She also admitted that she hated John Williams. I should have pushed her out of my moving car at that point but instead I was polite and tried to be accommodating and still got firedn in the end. What a twit. Oh, she also admitted she was literally tone deaf. D'ya think?
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Also, we must remember that this type of acceptance falls in line, or coincides, with the death of the "album." No longer are most directors or musicians and, in this case, critics, looking for anything that's actually musical or that can stand the test of time. It's now become as simple as filler material - a placebo of sorts, something percussive or shrill enough to impact the visuals on screen, period. The great composers of our time - especially those who did choose to include or work with some electronics, i.e. Jerry Goldsmith - knew how to marry their off-the-wall experimentation to an actual, musical-driven orchestra and have them form a single musical idea. Many of the greatest scores in history are often highlighted for this. It just really upsets me to see this wacky, accidental music folks like Reznor get praise for, or even nominated for that matter, become the standard. It hurts to see the death of true, educated composers who, along with their own demise, must bear witness to an entire orchestra being put out of work.
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The movie and music is pure propaganda rubbish.
One can not expect anything else from Spiel & Will.
One of the worst manipulators in human history.
'kay
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Face it- the music we grew up loving is not well received by the masses...Whether they are a bunch of tone deaf assholes or whether we're a funny antiquated bunch is up to interpretation...
I don't know. We live in dire times, no doubt, but I can't believe we've seen the end of melody, complex orchestration and music that plays a foreground dramatic role. We've been through "troughs" before. In the 70s, despite the occasional Obsession or Wind and the Lion, much film music was instrumental pop. Then came John Williams' "archaic" scores for Jaws and Star Wars, and suddenly he was one of the coolest musicians on Earth. People forget that the Star Wars soundtrack (an expensive double-LP set) went platinum.
I remember working on a student film score where the director kept pushing me to lose the melody and keep the music in the background.
I think many directors are obsessed with the idea of being seen as the "definitive author" of their movies, and want all their collaborators to "follow orders" rather than offer ideas. A "tune" could divert the limelight from the director to the composer. Worse, it might infect the film with sentiment. Can't have that!
Sadly, many of the current A-list directors seem to follow this line of thought -- Christopher Nolan, Zack Snyder and David Fincher most obviously.
The irony is that audiences LIKE scores that are interesting and (horrors!) even tuneful. Look how popular were the scores for for melody-driven scores like Ben-Hur, the Bonds, The Good, The Bad & the Ugly, Rocky, Star Wars, Chariots of Fire, Dances With Wolves, Titanic, etc.
Even "merely effective" scores (that most would not want to listen to on recordings), have received mainstream praise (like Psycho and The Omen).
Despite the blight of rap and hip-hop, I think most listeners still like melody. Whatever one may think of "Bad Romance" it is melodic (much more melodic than just about any film music these days).
I am with Oscarilbo. I also think we'll eventually see the end of this dark age (but we won't be left with many memorable scores from this era).
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