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Disappointing but life will go on.
Money saved!
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Another buy for me!
One thing I do wonder and hope to get others to reply... did you really think the music in THE SOCIAL NETWORK and THE GIRL WITH THE DRAGON TATTOO really NOT WORK in the films that David Fincer and crew made?
I thought the work on THE SOCIAL NETWORK in particular was damn good and fit that film like a glove.
I also thought the music for DRAGON TATTOO was really effective and only did the floor waxing machine scene actually draw too much attention to the music and even then I found it to be clever.
Another thing I don't understand is people who complain about what it SHOULD have been when there wasn't really anything to think that Fincher didn't want exactly the scores that he wanted. He wanted scores that were very music like SOUND DESIGN and atmospheric and to those who actually gave them listens, yes! There are themes!
It isn't for everyone, that I understand and if you hate it AFTER listening or because it ruined the movie for you, then so be and I respect your opinion but all these negative comments seem to just "popular" instead of informed.
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Posted: |
Jan 22, 2014 - 7:19 AM
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By: |
MikeP
(Member)
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Another buy for me!
One thing I do wonder and hope to get others to reply... did you really think the music in THE SOCIAL NETWORK and THE GIRL WITH THE DRAGON TATTOO really NOT WORK in the films that David Fincer and crew made?
I thought the work on THE SOCIAL NETWORK in particular was damn good and fit that film like a glove.
I also thought the music for DRAGON TATTOO was really effective and only did the floor waxing machine scene actually draw too much attention to the music and even then I found it to be clever.
Another thing I don't understand is people who complain about what it SHOULD have been when there wasn't really anything to think that Fincher didn't want exactly the scores that he wanted. He wanted scores that were very music like SOUND DESIGN and atmospheric and to those who actually gave them listens, yes! There are themes!
It isn't for everyone, that I understand and if you hate it AFTER listening or because it ruined the movie for you, then so be and I respect your opinion but all these negative comments seem to just "popular" instead of informed.
For me, Social Network was a complete failure. Start to finish the score failed to be anything ... failed as dramatic scoring, failed to be interesting ambient textures, it may just qualify as the sound design -pure sound - Fincher seems to have gravitated towards. After all, with Zodiac, Fincher kept David Shire at the level of sound design, as minimalist as possible. But for me TSN just kinda slides off the screen, not able to enhance the film at all. So to answer the question, yes I feel TSN score does not work whatsoever.
I love electronic scores as much as orchestral music, so it isn't a matter of an old stodgy fart just being a naysayer over synth work. I've been listening to electronic music since the 1970's . Everyone seemed to go bananas over Hall Of The Mountain King like it was some revelatory cover ... really? All I could do was roll my eyes. And this score winning an Oscar.... oh my God. 
Now ... with Dragon Tattoo, there was improvement. It isn't a score I enjoy particularly, but it seemed that the composers learned a bit about how to support visuals with their music. The music was actually contributing to the film. To answer the question... Dragon Tattoo works much much better than Social Network, however it is not a type of electronic music I enjoy.
Is it due to the generation gap maybe? Us old school electronic music fans are more used to Tangerine Dream, Vangelis, Schulze... these days is the trend - or maybe let me say trendy - approach is to be sound design as opposed to music ? These kids and their hip rumbly-bumbly electronics ! 
I hope Gone Girl is even more of an improvement and shows more depth. Yes I miss the Fincher / Shore days ( Seven being Shore's best score to my ears, yes, more than any Hobbit music ) but those days are gone.
To be honest... if Fincher did another carefully chosen and dynamic song score like Zodiac ( yeah I know Shire scored it, but the songs were very well chosen here and were VERY effective ) I'd be happy.
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I thought the score did work in THE SOCIAL NETWORK. It didn't deserve an Oscar, and it didn't really do anything for the film to take it to another level or anything, but it supported the film and wasn't distracting or out of place. But the kind of film this was, a wordy drama based on real events, didn't really need much from a score to support it.
I didn't think the score for THE GIRL WITH THE DRAGON TATTOO worked at all. It was just a random collection of snippets with no architecture, it did nothing to aid the tension, horror, drama or atmosphere of the film in any way, and indeed was counter-productive as this was the kind of film that does require an effective score to help it work. As it was, the film felt more lifeless than it could have done simply by having a more effective score attached that was composed by somebody who understood drama rather than by somebody who thought some riff they'd laid down while improvising was kind of cool. Quite frankly, it needed a Howard Shore score.
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