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Posted: |
May 27, 2016 - 3:48 PM
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By: |
thestat
(Member)
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Based on the recent X-Men thread.
Can orchestrators have an impact on a composer in a negative way?
We all know the great orchestrators - Shirley Walker, Alexander Courage, John Neufeld, Steve Bartek, Thomas Pasatieri etc. etc.
But what about the ones that have a detrimental impact on the composer's music? I am aware that every time a composer hires an orchestrator they tend to work hand in hand, but there are patterns where the use of certain individuals have resulted in limitations of orchestral scope:
1. Ken Kugler. All Mark Isham scores tended to sound like an orchestra was arranged for a jazz band and the results worked well enough in dramas and thrillers. But anything with scope was disastrous. Even a Jean Claude Van Damme film, Timecop, sounded cheap due to the poor orchestral work (at that time, all A-list action films had composers like Poledouris or Goldsmith score them). Isham's score uses his earlier Wyndham Hill piano repeats with poor action gestures that are fragmented and never come together. The score still sounds cheap for a time when Graeme Revell (or Tim Simonec, in actual reality) would compose the massive score for Street Fighter. In 2007, he ditched Kugler for Racing Stripes and the results were brilliant pieces of music. He has since continued on composing actually interesting scores with orchestral power. Yet, he is a scientologist so maybe he needs to go back to Kugler to torpedo his career.
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Wait, this thread title that lured me in to read it *isn't* to announce a movie on an orchestrator, to follow "Bad Lieutenant", "Bad Teacher", "Bad Santa" and "Bad Grandpa"? Darnit. 
Bad Orchestrator: Port of Call Warner Bros
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Bad Thread.
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