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I'm curious if there are movie scores that you fell in love with primarily because of your fondness for the film. Meaning that on its own the score might not have grabbed you, but because you loved the film, you found yourself more drawn to it than maybe you would have otherwise.
So for me this only includes scores I came to know some years after I started collecting, once my preferences were more defined. Here are a few:
Deutsch's Mask of Dimitrious
Steiner's Big Sleep
Waxman's Bride of Frankenstein
Duning's Bell, Book and Candle
Horner's Aliens
Gore's Terms of Endearment and Defending Your Life
Conti's Broadcast News
Zimmer's Inception
Wiseman's Wolf Hall
Anyone else?
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Posted: |
Nov 15, 2015 - 8:26 AM
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By: |
The Thing
(Member)
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I'm curious if there are movie scores that you fell in love with primarily because of your fondness for the film. Meaning that on its own the score might not have grabbed you, but because you loved the film, you found yourself more drawn to it than maybe you would have otherwise.
I'm curious to know how you managed to make yourself like the scores that you once didn't enjoy. Was it a case of visualising the film as you listened to the music, and slotting the cues into context, or did your music tastes simply change to the point where you subsequently liked the music.
For me, I'm one of those that separates music from film. If I'm watching the film, I rarely consciously take in the music. I'm aware that it's playing in the background, but as soon as some dialogue or visual stuff happens, I'm paying attention to that, and have quickly forgotten to "listen" to the music. Consequently, for the most part I have little "connection" with the film when listening to a soundtrack CD... it's just instrumental music playing that I enjoy listening to.
As such, I make the effort to seek out the music independent of the film, i.e. by sound samples or listening to as much as possible on Youtube before deciding to buy it. Therefore, if the music doesn't grab me that way, I can't think of any examples where the film has converted me.
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In the cases I mention at the top, these were scores I first heard in the context of the films. In most cases, like the Golden Age example and the eighties light music style of terms of endearment, that wasn't the kind of music I was generally drawn to. But because of the importance of the score in the film, I found myself preferring these scores over others in the same kind of genre.
I do have very eclectic and wide ranging musical tastes, so I'm open to a lot of different things if there is something bringing me to the music, and sometimes it's a film I really enjoy. Another example is Silent Running. I would not usually go out of my way to listen to Joan Baez, just not my dish of tea, but I loved listening to that album, first and foremost because I loved the movie when I was a kid.
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Posted: |
Nov 15, 2015 - 12:37 PM
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By: |
Graham Watt
(Member)
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SILENT RUNNING is an interesting example, Sean. These thoughts will probably resonate with the... older... members around here, whose chidhood probably consisted of staring in wide-eyed amazement at big-screen Ray Harryhausen creations, or squinting at Frankenstein's monster(s) on a tiny wee black n' white TV. Back then LP releases were pretty rare, but I got the Herrmann compilations without really consciously acknowledging the fact that a real person composed that music. The LPs were, at least in the earliest days, a souvenir of the film for me.
Yes, I've often thought about us hardcore soundtrack nutcases. I can identify with the SILENT RUNNING story. I'm not particularly interested in following up all the Joan Baez records either, but I love those songs written for the movie, because they're from that great movie.
I could mention a million cases, but I've often wondered if those who love, for example, THE OMEGA MAN score, have gone out of their way to seek out other pop-flavoured non-soundtracks in a similar vein.
Or if you like Jerry Fielding's THE GAUNTLET, are you still eager to hear the jazz albums of Art Pepper and Jon Faddis? Or the concert works Lutislowski? If you like Goldsmith's '60s stuff such as FREUD, do you automatically purchase Bartók too?
I must admit that I'm a nutmeg, and have only skimmed the surface of the non-soundtrack music "equivalents." A lot of you are mature adults (Zardoz, Onya), but I'm just a wee boy who likes the music from the films that he liked when he was a wee boy. And quite happy in my arrested development.
ADDED A BIT LATER, AUTOMATICALLY, FROM MY SPACESHIP_________________________________________
I really AM a complete nutmeg. I should have added (or maybe I shouldn't) that although back in ye olden times I would see the film then get the LP, it wasn't too long afterwards that I began getting scores by the composers whose styles I started recognising, often without having seen the film. And I'd still, even today, at the grand old age of something really quite old, prefer to get another "Ron Grainer" score on CD because he did THE OMEGA MAN, rather than buy that old pop record by somebody who wasn't Ron Grainer, but which actually sounds more like THE OMEGA MAN than the other Ron Grainer score I'd buy.
See what I mean?
NUTMEGS OF THE WORLD UNITE!!!
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To be clear, I don't automatically love a score because I love the movie it's in. But sometimes a score interests me more because of my connection to the film. There are many more cases where I love a score for a movie I haven't seen, don't care about or actively dislike, but that's for another thread.
Thanks to folks who've contributed so far. The Dante's Peak example is a fun one. That's kind of what happened to me with Star Trek 2 .... Didn't care much for the score when I first saw it and got the album, but after watching it play over and over in the video store where I worked, I fell in love with the music. Familiarity sometimes breeds comfort not contempt.
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