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"Haven't heard about any of them, and I thought I was in with the young, hip crowd!
For me, it's Jean Michel Jarre all the way. He's done a couple of scores throughout the years, but he should have done, and do, more. But I guess he's afraid of his father's looming shadow in that arena."
I guess you have read the authors' names instead of the composers. You must surely have heard about some of those.
About Jarre, I guess another reason is that he never had to earn some quick money doing a score, because his albums always sold well. He was always financially safe. I'm not saying people score films only for the money, but let's face it, if your album sales slow down, at least you get paid properly if you do a film of a certain size.
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About Jarre, I guess another reason is that he never had to earn some quick money doing a score, because his albums always sold well. He was always financially safe. I'm not saying people score films only for the money, but let's face it, if your album sales slow down, at least you get paid properly if you do a film of a certain size.
This is an interesting point, but what does it say about Tangerine Dream? Of course, I'm thinking they actually enjoyed doing soundtracks, and who says everyone needs to take the same path. Just thought it was an interesting observation about Jarre and made me think of the other powerhouse. (Maybe he was also scared off with horror stories from his father in the trenches, as it were.)
Klaus Schulze did a few scores as well, speaking of 70's electronica icons, but not with anything like the level of success of Tangerine Dream.
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Posted: |
Jan 13, 2017 - 4:53 PM
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By: |
lacoq
(Member)
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I'm an old fogie, grew up on 60's and 70's pop, but IMO none of these folks are potential "great" film composers. I'm aware of the new sounds, etc. in film music today. There are most definitely times when a song, pop sound score is the way to go, and some of the mentioned artists could no doubt do the job. But there is a huge difference between painting a movie with said sound and songs and composing a score with true knowledge of the craft of composition using an orchestra, string quartet or a blend of electronics and traditional instruments. The term "great" is no doubt subjective, but when I think of that word in relation to the true ability of fashioning a score from the inside out, and who fits that term, I think of Goldsmith, Williams, Herrmann, etc.
Again I'm not disparaging the more independent pop/rock approach, but it just seems like everybody and their dog is an instant film composer these days - just pick up your guitar, plug in your synth and away we go! While the true art of film composition is being neglected, ignored or not wanted. Oh well.........
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Enya: although she scored at the beginning of her career the TV series THE CELTS resulting in the eponymous album as well as the song 'May it be' almost 15 years later, I wish she would have been more active as a film composer. But as you noticed rightfully about Jean-Michel Jarre, she's got her own career and enough successful albums to her credit without bothering working for the movie industry on a regular basis. Still, I believe that collaborations with directors could be a good means to renew herself a little bit.
Another composer who either doesn't need it is Karl Jenkins, who signed the soundtrack to RIVER QUEEN (the only one I know besides a compilation of early scores for TV ads I once had) but who's got a tremendous potential in my opinion.
I of course agree about Mike Oldfield. And I also must be ageing too since I don't know any of the 14 names featured in the list!...
Enya also did The Frog Prince in 1985.
Jenkins did more stuff, according to imdb.
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About Jarre, I guess another reason is that he never had to earn some quick money doing a score, because his albums always sold well. He was always financially safe. I'm not saying people score films only for the money, but let's face it, if your album sales slow down, at least you get paid properly if you do a film of a certain size.
This is an interesting point, but what does it say about Tangerine Dream? Of course, I'm thinking they actually enjoyed doing soundtracks, and who says everyone needs to take the same path. Just thought it was an interesting observation about Jarre and made me think of the other powerhouse. (Maybe he was also scared off with horror stories from his father in the trenches, as it were.)
Klaus Schulze did a few scores as well, speaking of 70's electronica icons, but not with anything like the level of success of Tangerine Dream.
Sure, TD did lots of stuff in the 80s only for the money, I'm sure about that.
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There is a Swedish musician by the name of Robert Wells (most known for his Rhapsody In Rock concerts) who I think would be a great film composer.
Is he still active??
He did a couple of TV series in the 80s and 90s says imdb. "Julstrul Med Staffan & Bengt" and "I Nød Och Lust".
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