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I'm sure I read somewhere that he has received scoring offers, but I can't seem to find it now.
He's only 75, I'm sure he can work for at least another 5 years. :-D
I would love to see him return to writing things like this again, the quite unknown Mamba from 1988:
https://www.youtube.com/watch?v=tqMf0srsj7A
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Very well deserved Oscar.
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I've always assumed that Moroder's Oscar was the Academy's way of saying, "Aw, we gave Williams one last year."
To me, "Superman" was at least neck-and-neck with "Star Wars" as career achievements, and suffered by comparison to it only among those who think the Main Title theme is the main job.
The rest of the "Superman" score has so much more breadth of scope and variation of style than its predecessor -- from the spooky sci-fi (some electronic) sounds of Krypton to the Coplandesque Smallville stuff to the Prokofiev-style villains' theme to the '70s pop-ballad love theme (itself possibly influenced by Ricard Strauss) along with the Super-Bowl-halftime-style epic march, use of electronics and mystic-sounding choir material for the scenes at the fortress . . . it's a huge musical workout for a great composer and, dare I say it, a far more ambitious undertaking than "Star Wars," great and influential though it was.
I've often wondered whether the Salkinds were influenced by Moroder's Oscar that year, in their decision to have him contribute material to "Superman III" years later.
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So maybe he'll be back in movies.
Dear God, NOOOO!
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Posted: |
Jun 17, 2015 - 2:06 PM
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By: |
mikael488
(Member)
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I love "Midnight Express" as an album, but Moroder's actual scoring to the picture wasn't that impressive (it's important to note that his film tracks are almost always different recordings, the album a different production and arrangement, and it's particularly night and day in the case of "Midnight Express"). I'm convinced Moroder got the Oscar that year for the album, not for his scoring to the picture. In fact, Moroder's soundtrack albums (so far?) have always been better than his actual scoring to the picture (except "Metropolis," but that's more of a novelty, and one I enjoyed). That said, I would love to see him do some movies again before retiring - his sound is far better than most of what passes for Hollywood movie scoring these days.
I am of a different opinion though; I prefer the movie versions of the "Theme from Midnight Express" and "Chase" which sound more raw, atmospheric and edgy than the "disco-ey" versions found on the soundtrack album.
The album versions (arranged and performed by Greg Mathieson) are definitely not bad but I still like
the movie versions more. According to Harold Faltermeyer the actual film score was produced at Musicland studios, Münich and at Dan Wyman's Sound Arts studio, L.A. where the synth overdubs were made. Faltermeyer and Wyman handled the synth-work/programming.
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I am of a different opinion though; I prefer the movie versions of the "Theme from Midnight Express" and "Chase" ....
The album versions (arranged and performed by Greg Mathieson) are definitely not bad but I still like the movie versions more.
The film tracks are much edgier and potent, I agree. There's more room for development on the album though. I always meant to play around with the album sound to see if the mix could be improved to reflect the OST. I have a hunch that just doubling the tracks in overlay, and either adding reverb or thinning out would work ('can't say which).
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Didn't Moroder also score the colourised version of Metropolis? I prefer his production work to his own work.
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So maybe he'll be back in movies.
Please no. There are enough hacks outthere, don't need him back really.
I wouldn't really except a guy with favourite composers like yours to enjoy Giorgio Moroder.
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