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Francois Truffaut once said that professional jealousy is only important when it leads to murder
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I saw a quote stating " I don't like Hans Zimmer, his music isn't interesting... ( I dont exactlly the end of the sentence, but barely it said that ) " it dismisses the recognition it once had ..."
Sorry for my poor English ;-)
So who said it then?
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Then he continued admitting that he knew they used orchestrators, and he strongly disagreed with that and said "..there're two main reasons for this behaviour: one doesn't know music, and this is really not the case for Goldsmith and Williams, or one accepts too many scores."
That's what he said to me back then.
This keeps coming up again and again, like a bad note in a rushed orchestration.
A few composers, including Miklos Rozsa have defended the notion of using orchestrators. If you've seen an MR score sketch, you'll know that 90% of the info is right there. Eugene Zador made certain decisions, like which of the violin rank takes what lines etc., but that's more to do with transcribing and alotting PARTS, and that's not the main jist of orchestration. In fact that's sometimes better done on the micro level, by people who know the orchestras that're going to record it, who's strong on what amongst the second violins etc.. And that'd be the case in a Hollywood environment, with fast turnaround and intimacy between the players.
Now, the reason Morricone goes on about orchestrators is that he liked very specific (as did Goldsmith and sometimes Herrmann) EFFECTS that needed to be calculated, and were often the result of serendipitious 'events' in a runthrough that could be repeated elsewhere. But y'know, it's not so easy for a symphony orchestra to replicate, say, 'The Good, the Bad, and the Ugly' because it requires layering, odd instrumentation and a very particular recording ambience. Very unique. Not so with 'Star Wars' which uses a conventional SO.
So let's not get stuck on that old chestnut. Most of the great film composers who 'didn't orchestrate', did orchestrate.
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Posted: |
Aug 13, 2014 - 12:44 AM
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By: |
Johnjerry
(Member)
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Then he continued admitting that he knew they used orchestrators, and he strongly disagreed with that and said "..there're two main reasons for this behaviour: one doesn't know music, and this is really not the case for Goldsmith and Williams, or one accepts too many scores."
That's what he said to me back then.
This keeps coming up again and again, like a bad note in a rushed orchestration.
A few composers, including Miklos Rozsa have defended the notion of using orchestrators. If you've seen an MR score sketch, you'll know that 90% of the info is right there. Eugene Zador made certain decisions, like which of the violin rank takes what lines etc., but that's more to do with transcribing and alotting PARTS, and that's not the main jist of orchestration. In fact that's sometimes better done on the micro level, by people who know the orchestras that're going to record it, who's strong on what amongst the second violins etc.. And that'd be the case in a Hollywood environment, with fast turnaround and intimacy between the players.
Now, the reason Morricone goes on about orchestrators is that he liked very specific (as did Goldsmith and sometimes Herrmann) EFFECTS that needed to be calculated, and were often the result of serendipitious 'events' in a runthrough that could be repeated elsewhere. But y'know, it's not so easy for a symphony orchestra to replicate, say, 'The Good, the Bad, and the Ugly' because it requires layering, odd instrumentation and a very particular recording ambience. Very unique. Not so with 'Star Wars' which uses a conventional SO.
So let's not get stuck on that old chestnut. Most of the great film composers who 'didn't orchestrate', did orchestrate.
You're right and I strongly agree with you.
I only wanted to point out that Morricone admires Williams and Goldsmith.
Yes, it's true, he addressed the orchestration thing with a lot of severity, and I think nowadays his observation strongly gets to the point with the younger composers' generation.
We all know what's the state of the art in our times and how little people can really orchestrate his scores...but this is another story for another topic
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