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It also seems that he's instructed to score every minute of an episode, which hurts both the episodes and the music.
Incorrect. While Gold writes new music for just about each episodes, that new music is augmented by tracked music from previous episodes, particularly the action music. Kinda like Classic star trek.
I'm sure Gold has no final say in how much and where his music is re-used.
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Mr. Gold's music for Doctor Who at times goes hugely, and deliberately over the top. But the show certainly demands that approach.
I vastly prefer it to most of today's TV music, which consist of either subliminal droning, adding atmosphere, but no real substance, or loud percussion from the Media Ventures school of action scoring.
I like Gold's Who music for the same reason I like a score like ID4. It's big, unashamedly thematic and just so darn infectious.
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Personally, I'm dumb struck by the banality of Murray Gold.
I'd like to see Mr Shark's reasons, but I suspect he's just being mischevious and adding some balance in what might seem over zealous Gold-worship. Understandable.
For me, Stefancos, and the other fans here have got it absolutely right. I say again that most critics are people used to pre-2005 Doctor Who which had a simpler, and more sober approach. Being an old fan myself I understand. But the series itself is now much more ott, and the music merely matches the show it underscores. Or is that overscores Mr Shark? Either way, the most recent series, only just finished, the second with a new management team, has seen a less fanfarish approach. The music is much less upfront, and there appear to be fewer themes, and more reliance on established Eleventh Doctor series ones. Sadly. Though there is much to enjoy, as of course the music itself is still excellent.
What remains most true is that the music contained on the superb cds so far released will show the unintiated that this stuff is movie quality, full blooded scoring. Themes are full tracks and not mere signatutures. I suspect that most of us attracted to film music in the first place were enchanted by the memorable themes and stand-out set pieces we find on the consistently most popular scores, as opposed to anything minmal and small scale.
While I appreciate electronic experimentations, and some of the more dissonant sounds which can make some films, I was hooked in my youth by Herrmann's rousing music for the Harryhausen films, later to discover his work for Hitchcock.Then by Morricone's Italian westerns. Then by Korngold's swashbucklers, courtesy of Sunday afternoon tv film showings followed by RCA's classic Gerhadt records. The advent of Star Wars mercifully saw a shift away from what Williams himself described as concrete music. When the Skywalkers appeared accompanied by the best film music in years, a new trend was set that we're still able to enjoy today. For me Batman and Elfman's revitalising of the superhero genre was yet another shot in the arm. My most recent filmmusic infatuation was with the incredible Howard Shore marathons for the Lord of the Rings trilogy.
Well these Doctor Who scores are the same. Not some atmospheric cushion under the dialogue, but often bold statements, carrying the action and dramtic fun along at a fair old rate. But when it's called for smaller ideas come along. Gold has the range of Goldsmith. If that late, great composer satisfies as much with the bleaker sounds of Planet of the Apes as easily as the gorgeous and impressively fanfarish Star Trek the Motion Picture, well you get that too, if maybe less frequently than some would like. The music for Series 3's Blink! is pretty small scale and claustrophobic as befits a Twilight Zone-ish horror-(small 'h' it was teatime!) thriller. Thankfully, most of it is indeed robust.
As my fan credentials are unashamedly obvious I will also say what a shame the boat was missed for the USA, when Doctor Who was revitalised in 2005, that our dear old BBC couldn't interest a network. With the right placing I think it would have gone down extremely well, in just the same way the equally British Harry Potter did, and maybe by now those of you stateside might understand all this Doctor Who nonsense! Still, what is gratifying is the amount of US film music fans have discovered Murray Gold's music almost by acccident, and realise how punch-the-air good it is.
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As my fan credentials are unashamedly obvious I will also say what a shame the boat was missed for the USA, when Doctor Who was revitalised in 2005, that our dear old BBC couldn't interest a network. With the right placing I think it would have gone down extremely well, in just the same way the equally British Harry Potter did, and maybe by now those of you stateside might understand all this Doctor Who nonsense! Still, what is gratifying is the amount of US film music fans have discovered Murray Gold's music almost by acccident, and realise how punch-the-air good it is.
I'm glad no one in the US got it. The BBC might have been forced to make it more palatable to an American audience.
Now Doctor Who remains quintessentially British, which is part of it's charm.
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As my fan credentials are unashamedly obvious I will also say what a shame the boat was missed for the USA, when Doctor Who was revitalised in 2005, that our dear old BBC couldn't interest a network. With the right placing I think it would have gone down extremely well, in just the same way the equally British Harry Potter did, and maybe by now those of you stateside might understand all this Doctor Who nonsense! Still, what is gratifying is the amount of US film music fans have discovered Murray Gold's music almost by acccident, and realise how punch-the-air good it is.
I'm glad no one in the US got it. The BBC might have been forced to make it more palatable to an American audience.
Now Doctor Who remains quintessentially British, which is part of it's charm.
Too true. Even Torchwood ended up as a US co-production, as did Doctor Who itself did in 1996, and it flopped! . It would take someone with the same bargaining power as JK Rowling to prevent Americanisation. That franchise, with NO american actor whatsoever, despite it's funding and production is massive partly (if not mainly) because America went wild over it, and yet it's appeal lies in it being completely British in nature.
Of course it's the executives, rather than viewers that get cold feet. As the Serlings and Roddenberrys of this world have written about over and over. If only they would occasionally let the people decide.....
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Posted: |
Oct 21, 2011 - 9:27 PM
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By: |
Mr. Shark
(Member)
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Personally, I'm dumb struck by the banality of Murray Gold.
I'd like to see Mr Shark's reasons, but I suspect he's just being mischevious and adding some balance in what might seem over zealous Gold-worship. Understandable.
Perhaps, but I still stand by that statement. I find Gold's music for DOCTOR WHO obnoxious, unsubtle, colourless, and friggin' monotonous to no end. Bubble gum orchestral music.
The Jerry Goldsmith comparison baffles me. Goldsmith was a master of his craft, and chameleon composer. There's more ambiguity, ingenuity and orchestral sleight of hand in a single cue of SECONDS, PLANET OF THE APES or THE FINAL CONFLICT, than anything Gold's produced.
Maybe I'm competently wrong, and if so, could you point me in the direction of the WHO episodes that aren't filled with Zimmer-style power anthems and sample library atonal stuff?
For me Batman and Elfman's revitalising of the superhero genre was yet another shot in the arm.
Personally I was more of a fan of the two Goldenthal scores. although I liked bits of BATMAN RETURNS. The first score always struck me as too much a Herrmann pastiche.
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For some reason the last ting I listened to on a regular basis was season 4. Other than I Am the Doctor and Mad Man with a Box. I play those to death. Bot nothing like Greatest Story Never Told or Strange Strange Creatures or Boe or Galifrey. Hmmmm.
Still good in the show. Just nothing I feel like going back and listening to.
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I can hardly wait for the next CD release from the current series which I hope will have a full version of
Clara's Theme.
I can't wait to hear his score for the 50th Anniversary special in November.
Ford A. Thaxton
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