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Hopefully Daniel Pemberton will be scoring a-list films in 10 years time. He definitely deserves to!
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Abel Korzeniowski
Bartosz Chajdecki
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Considering this year's fuss about the Oscar boycott and social media hashtags regarding "Oscars so white" (plus 2016's overall gravitation towards unprecedented mindsets & behaviors in multiple fields), I am hard-pressed to predict any future success in 2026 of music by Caucasian males.
The composers (whose future music I might be hearing accompany films & television in 2026) will possibly be female and/or persons of dark(er) skin color.
I would not at all be surprised if future productions will be governed by Equal Employment Opportunity-type guidelines expecting quotas (i.e. such as 30% of production personnel should be African American or 50% should be female, etc.).
My thoughts on this subject are also bolstered by present-day marketplace indifference/lack-of-interest towards vintage (let's say music 50 years of age and older) recordings of film music written in styles deemed outmoded and which have very little currency amongst active listeners & the download community.
Labels such as Alhambra, Kronos, MusicBox, Quartet, etc. are limiting pressings to 300 and part of the reason may be that music from older entertainments are not relevant and hail from eras dominated by the white establishment.
Even La-La Land has had lackluster sales on the 1956 Invasion of the Body Snatchers.
Orchestral music by white men is dying a slow death and it doesn't 'speak' to most of the human race ... so I don't expect to hear much new music in 2026 in the Western European symphonic vein.
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Posted: |
Oct 23, 2016 - 2:53 AM
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By: |
Laurent78
(Member)
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Morricone (Henry) quote : "But if you explore many of the scores from films outside the US or in American independent cinema and gaming THAT is where the creativity still exists. They even get released by Moviescore Media and a few other labels. The truth is out there."
As a matter of fact I intended to open a thread in order to promote the sheer quality and originality of European scores. I've indeed been wondering for many years why there isn't more curiosity toward these soundtracks. One obvious reason for this is the hegemony of the American cinema throughout the world. Yet we have in France and other countries outstanding composers, including female ones like Beatrice Thiriet. Moreover, if the film music fans happen to know European names like Alexandre Desplat or Abel Korzeniowski (and before them Georges Delerue, Maurice Jarre, Gabriel Yared, Wojciech Kilar, etc), it's most of the time because these artists eventually worked in Hollywood. But please try to consider the simple fact these musicians didn't start in the US and sometimes even had a whole career in their respective countries beforehand.
When I browse into this site or have discussions with other film music fans, I also find it amazing that so many people are interested 'only' in symphonic scores written mainly for Sci-Fi, fantastic, horror and adventure movies. It seems people are above all obsessed with action-packed tracks, most often conceived in a very atmospheric and/or bombastic vein. The larger it is the better it seems to them! Don't get me wrong, some of these scores might have undeniable qualities per se but there is so much MORE to the cinema: dramas, comedies, etc. Besides, I need diversity as a listener and could never be satisfied only with large orchestras playing endless wall to wall scores. These days I for instance played the CD's to LA VACHE (festive music for the successful eponymous French comedy written by famous trumpet player Ibrahim Maalouf who lately also scored for instance the drama DANS LES FORETS DE SIBERIE), and MUSTANG, boasting a delicate score by Warren Ellis, as well as David Lang's more challenging and yet wonderful YOUTH (LA GIOVINEZZA), featuring the soprano Sumi Jo. All three soundtracks sound completely different and make for great listening experiences, believe it or not. To dig into this territory more often would possibly avoid the kind of reaction we read so often here: on the one hand jared people who are nostalgic of the Golden & Silver Ages or say of music up to the 80's and think nothing significant happened since then and on the other hand people who like today's film music but think it is more or less limited to Hans Zimmer and his school of followers.
This is therefore a plea for the European creativity. But it means people would of course have to change their vision of what film music is and be much more open-minded to different approaches and types of instrumentation. As an example, in the aforementioned LA VACHE, Maalouf performed the music himself on trumpet together with 12 other musicians playing brass and percussion, which means there are no string and woodwind sections for instance. But why oh why should film music always be symphonic? I see absolutely no valuable reason for that. Depending on the type of movie and its requirements, I on the contrary like it to discover a unique organic and colour whenever the composer has enough imagination to think it up. So my wish is that musicians who will be working in the movies in ten years from now will fight stereotypes and dare combining new idioms and sounds as much as possible. And Europe is in my opinion already setting an example.
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Posted: |
Oct 23, 2016 - 7:01 AM
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By: |
MCurry29
(Member)
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Morricone (Henry) quote : "But if you explore many of the scores from films outside the US or in American independent cinema and gaming THAT is where the creativity still exists. They even get released by Moviescore Media and a few other labels. The truth is out there."
As a matter of fact I intended to open a thread in order to promote the sheer quality and originality of European scores. I've indeed been wondering for many years why there isn't more curiosity toward these soundtracks. One obvious reason for this is the hegemony of the American cinema throughout the world. Yet we have in France and other countries outstanding composers, including female ones like Beatrice Thiriet. Moreover, if the film music fans happen to know European names like Alexandre Desplat or Abel Korzeniowski (and before them Georges Delerue, Maurice Jarre, Gabriel Yared, Wojciech Kilar, etc), it's most of the time because these artists eventually worked in Hollywood. But please try to consider the simple fact these musicians didn't start in the US and sometimes even had a whole career in their respective countries beforehand.
When I browse into this site or have discussions with other film music fans, I also find it amazing that so many people are interested 'only' in symphonic scores written mainly for Sci-Fi, fantastic, horror and adventure movies. It seems people are above all obsessed with action-packed tracks, most often conceived in a very atmospheric and/or bombastic vein. The larger it is the better it seems to them! Don't get me wrong, some of these scores might have undeniable qualities per se but there is so much MORE to the cinema: dramas, comedies, etc. Besides, I need diversity as a listener and could never be satisfied only with large orchestras playing endless wall to wall scores. These days I for instance played the CD's to LA VACHE (festive music for the successful eponymous French comedy written by famous trumpet player Ibrahim Maalouf who lately also scored for instance the drama DANS LES FORETS DE SIBERIE), and MUSTANG, boasting a delicate score by Warren Ellis, as well as David Lang's more challenging and yet wonderful YOUTH (LA GIOVINEZZA), featuring the soprano Sumi Jo. All three soundtracks sound completely different and make for great listening experiences, believe it or not. To dig into this territory more often would possibly avoid the kind of reaction we read so often here: on the one hand jared people who are nostalgic of the Golden & Silver Ages or say of music up to the 80's and think nothing significant happened since then and on the other hand people who like today's film music but think it is more or less limited to Hans Zimmer and his school of followers.
This is therefore a plea for the European creativity. But it means people would of course have to change their vision of what film music is and be much more open-minded to different approaches and types of instrumentation. As an example, in the aforementioned LA VACHE, Maalouf performed the music himself on trumpet together with 12 other musicians playing brass and percussion, which means there are no string and woodwind sections for instance. But why oh why should film music always be symphonic? I see absolutely no valuable reason for that. Depending on the type of movie and its requirements, I on the contrary like it to discover a unique organic and colour whenever the composer has enough imagination to think it up. So my wish is that musicians who will be working in the movies in ten years from now will fight stereotypes and dare combining new idioms and sounds as much as possible. And Europe is in my opinion already setting an example.
I'm with you Laurent.
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Posted: |
Oct 23, 2016 - 8:02 AM
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By: |
Laurent78
(Member)
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Thanks for your support, Mcurry29. The fact is that non American movies have a huge handicap: they most of the time don't have enough exposure worldwide, which implies their scores are less known by the film music aficionados. But for many of them, even over here in France, it seems as though only the music written for Hollywood blockbusters is worthy of interest. This is where I say: there are many other soundtracks that deserve to be listened to. And if a score works with two or three instruments instead of a full symphony orchestra, why ignore or despise it just for that reason? If you listen for instance to Vladimir Cosma's boxes, you can figure out how this composer is chosing various types of orchestrations from one project to another, sometimes inside the same soundtrack: small orchestras, large orchestras (if needed), pop songs, pieces for a small jazz combo, others for accordion and a few instruments, etc, etc. This is how film music should always be: diverse and entertaining.
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Disasterpeace
Matthew Margeson
BT
Vincent Watts
Ceiri Torjussen
Steve Moore
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I hope I will be listening to one or two new, immensely talented composers who burst onto the scene with brilliant, melodic, richly orchestrated music in movies by new directors who appreciate scores that play a foreground role in the film.
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In ten years kev i will be listening to Morricone, nicolai, cipriani, ortolani, goldsmith, elmer, schifrin, jarre, North, Williams, herrmann, goodwin, Budd, Fielding, Karlin, Small, Trovajoli, and everyone else i listen to now.
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