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YOR agrees that the state of film music in USA is very sad now.
Very few composers are still able to compose interesting music for movies and some of them are even forced to emulate the abominable "style"!
YOR hopes that this trend end someday soon too, but doubt it since there are a lot of people who actually like this kind of noise...
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If you don't care for current scores, look at re releases of classic film music as there are several labels that release wonderful older scores. tribute film score classics is a great label for this and they have excellent Herrmann re recordings especially. Korngold and Steiner as well.
I also recommend 20th century orchestral composers like Stravinsky, Prokofiev, Shostakovich, Sibelius, Bartok, Vaughan Williams, Barber, etc. And if you are more adventurous Varese, Xenakis. crrumb. Minimalists like John Adams are also interesting to listen to. When you discover these composers' works, you will hear direct ties to scores that you love. That's what I have been doing lately since I have generally close interest in most current film scores save for a few that blend styles in an interesting way.
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YOR hopes that this trend end someday soon too, but doubt it since there are a lot of people who actually like this kind of noise...
It won't end, not only because of that, but because today's teenagers who will become tomorrow's film producers and directors are growing up with this style, and are accustomed to it, so they will never ask for anything more than this (eg like the symphonic scores of the past).
I think the last generation that loves symphonic scores is the one who was born during the 80s and early 90s..
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Hmm, yes... there's not a lot that has enthused me in mainstream Hollywood scores in the past years, but I think that, whilst it's true that John Williams (and particularly STAR WARS) "revived" the old symphonic sound, by dissing the trends taken up in Hollywood scores between roughly the late '60s until STAR WARS, we're doing a huge disservice to the composers of some of the best, most interesting music of that period - in particular the gritty urban sounds of Shire, Small, Grusin, Schifrin, Fielding..., and Williams himself, to name just a few off the top of my head.
In fact, I think that in some ways the trend that STAR WARS started (scoring every SF or fantasy film in a heavily orchestral pastiche way) wore out its welcome pretty soon.
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Posted: |
Jun 15, 2013 - 10:17 AM
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By: |
Solium
(Member)
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Hmm, yes... there's not a lot that has enthused me in mainstream Hollywood scores in the past years, but I think that, whilst it's true that John Williams (and particularly STAR WARS) "revived" the old symphonic sound, by dissing the trends taken up in Hollywood scores between roughly the late '60s until STAR WARS, we're doing a huge disservice to the composers of some of the best, most interesting music of that period - in particular the gritty urban sounds of Shire, Small, Grusin, Schifrin, Fielding..., and Williams himself, to name just a few off the top of my head.
In fact, I think that in some ways the trend that STAR WARS started (scoring every SF or fantasy film in a heavily orchestral pastiche way) wore out its welcome pretty soon.
No disrespect meant towards those composers. The early 70's was a time of the "personal film" and the scores reflected that trend. However once the "blockbuster" returned so did "large scores". I have no problem with small personal scores for the appropriate style of film. But large action adventure/Sci Fi films benefit from broad classical treatments.
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Well, I'm not sure solium... I suppose we might call LOGAN'S RUN a large-scale SF adventure, and it had one of Jerry Goldsmith's most exciting and adventurous scores - yet edgy and romantic, aggressive and modernistic all at the same time. I wonder how it would have sounded had it come out after STAR WARS. Maybe not very good examples, but I know what I mean.
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Posted: |
Jun 15, 2013 - 10:45 AM
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By: |
John Mullin
(Member)
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I remember people complaining endlessly about how bad filmmusic had gotten back during the 90s. Looking back on it, there were a good number of tremendous scores that were produced in that era.
I have a feeling that in a couple years, people will realize that there's a lot of really good work being done now too. True, a lot of the old masters are either gone or retired, but I can think of at least 15 people who still score movies occasionally and who do excellent work, including Zimmer sometimes.
It's easy to say that the art has deteriorated, but that's not necessarily true... There are junky, pop-culture scores being written for movies, sure, but there always have been scores like that. Look around and see that there are plenty of big orchestral works like THE HOBBIT and LINCOLN and OZ: THE GREAT AND POWERFUL and STAR TREK: INTO DARKNESS (which I don't even like!) being produced.
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Posted: |
Jun 15, 2013 - 10:55 AM
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By: |
Solium
(Member)
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Well, I'm not sure solium... I suppose we might call LOGAN'S RUN a large-scale SF adventure, and it had one of Jerry Goldsmith's most exciting and adventurous scores - yet edgy and romantic, aggressive and modernistic all at the same time. I wonder how it would have sounded had it come out after STAR WARS. Maybe not very good examples, but I know what I mean.
Sure not all Sci Fi films need to sound like Wagner. Logan's Run much more than Star Wars was a product of its time. New age, disco, drugs, free love, etc. The film reflected those sensitivities.
Jerry did a great job in combining the other worldliness of electronics, with classical motifs. 
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YOR has nothing against a good bombastic score.
Goldsmith's "The Mummy" comes to mind. Very bombastic, yet very complex and rich.
YOR also likes minimalist scores, such as the ones by John Carpenter.
YOR simple cannot stand these new scores composed in the Zimmer "style", that are all very poorly writen and performed, being bombastic or not (of course the bombastic ones are the worst and most movie-destroying).
YOR hopes that this trend ends soon and real good composers, such as Giacchino or Brian Tyler, prevail.
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