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Regarding Die Hard 2: avowedly, the late Michael Kamen added little to the palette of the one that launched the franchise Very interesting. I strongly, swiftly, and passionately disagree.
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Posted: |
Jun 5, 2011 - 6:06 PM
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By: |
neelyre
(Member)
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I also really liked the article, I too started collecting in the mid 80s and seem to grow increasingly less interested in the musical ideas in cinema. Admittedly, movies aren't made they way they were 20-30 years ago- you can nearly do ANYTHING (music, effects, editing) completely on computers and budgets & deadlines have gotten insanely out of hand. It only makes sense that much music has to be written 'systematically' and quickly. Add in the fact that producers would love to streamline a popular soundtrack album with hit songs as additional revenue, and you've got too little time and too much interference to really generate something unique. I don't blame the past and current composers for maybe adapting an occasional 'lazy' attitude. Working in video post production, I have dealt with so many producers & tight deadlines that even I have embraced the mantra of 'If you're happy, I'm happy.' Again, Good article and well thought out, without bashing the composers
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The Hunt For Red October was one of 1990's first releases instead of being a summer blockbuster, and Born On The Fourth Of July came out in 1989! Back To The Future Part III (Alan Silvestri's most multi-thematic score of the trilogy) and Total Recall, on the other hand, definitely qualify... Depends where in the world you are. BORN ON THE FOURTH was definitely a March 1990 release in the UK; RED OCTOBER came out April 1990. Back then international releases were all over the place and it wasn't uncommon for films to take six months to get to the UK. That nice Christmassy EDWADR SCISSORHANDS was a summer release over here.
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Right on the mark, Kjell...
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Just to throw in my humble two cents, I think the film score industry is healthy, vibrant, and thrillingly wonderful at present, I'm completely satisfied with the range of scores and collection of composers, and I generally wouldn't change a thing. I often feel I'm in the minority (the tiny minority) at FSM in feeling this way, which of course doesn't change anything for me, but I do confess to feeling a bit lonely in these hallowed halls on the subject of quality of modern film scoring...
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Posted: |
Jun 6, 2011 - 8:53 PM
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By: |
gone
(Member)
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Just to throw in my humble two cents, I think the film score industry is healthy, vibrant, and thrillingly wonderful at present, I'm completely satisfied with the range of scores and collection of composers, and I generally wouldn't change a thing. I often feel I'm in the minority (the tiny minority) at FSM in feeling this way, which of course doesn't change anything for me, but I do confess to feeling a bit lonely in these hallowed halls on the subject of quality of modern film scoring... You're not alone DR! JNH has done some truly wonderful work, precious little of which gets discussed in depth (I just now ordered "Defiance"); Desplat has written a total gem for the likes of the Twilight franchise (who woulda guessed?) amongst other keepers; our good friend Alan Silvestri has plenty in the tank, etc, etc. I have noticed a trend towards 'soundscapes' for some scores... "The Way Back" is very nice but borders in the realm of soundscapes. I still prefer a fully orchestrated approach, filled in with interesting rhythms if the movie calls for it, as Silvestri is so adept at.
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