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I miss Jerry's music from his prime (my favorite years were mid-70's to late 80's). He was probably my favorite of them all, along with Williams. In Jerry's later years, I just couldn't develop the same enthusiasm, although I would take any less inspired score by Jerry over practically any soundtrack of the last five years. But when he passed, I honestly didn't feel like we were robbed of a great career. We got so much from him over the years.
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I saw this thread and it struck a chord. I have to agree. I miss him too. I've been a soundtrack fan for 30 years, always with one ear on the music whenever I go to the cinema, and I have to say that most scores these days just don't excite me.
I listen to my older scores for Williams, Elfman, Barry, Bernstein and of course Goldsmith, and just don't hear the same craftsmanship in many modern scores. I listen to say the Rebirth track of Poltergeist and it's so classical in it's construction, full of feeling, power, and themes. I loved Goldsmith, his music had it all, and he rarely repeated himself, constructing new themes for each film. I wish he'd done the original Judge Dredd film, as just his trailer music got the blood pumping.
I know Zimmer and his ilk have been blamed for the simplification of film music, which I feel is a bit unfair, as tastes do seem to change with the passing decades, but I do feel we have lost something with many scores now being quite a dull listening experience. I just feel many scores are so incidental, and pass by with no impression.
Maybe scores more to my taste can be found in foreign films, of which I'm afraid i know little, away from the likes of Hollywood.
Anyway, thank you for raising this thread which I've thought about for some time. I just hope there will come a time when I can get excited about film music again, when the trends change again.
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Posted: |
Jul 2, 2013 - 11:21 AM
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By: |
meegle
(Member)
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I saw this thread and it struck a chord. I have to agree. I miss him too. I've been a soundtrack fan for 30 years, always with one ear on the music whenever I go to the cinema, and I have to say that most scores these days just don't excite me.
I listen to my older scores for Williams, Elfman, Barry, Bernstein and of course Goldsmith, and just don't hear the same craftsmanship in many modern scores. I listen to say the Rebirth track of Poltergeist and it's so classical in it's construction, full of feeling, power, and themes. I loved Goldsmith, his music had it all, and he rarely repeated himself, constructing new themes for each film. I wish he'd done the original Judge Dredd film, as just his trailer music got the blood pumping.
I know Zimmer and his ilk have been blamed for the simplification of film music, which I feel is a bit unfair, as tastes do seem to change with the passing decades, but I do feel we have lost something with many scores now being quite a dull listening experience. I just feel many scores are so incidental, and pass by with no impression.
Maybe scores more to my taste can be found in foreign films, of which I'm afraid i know little, away from the likes of Hollywood.
Anyway, thank you for raising this thread which I've thought about for some time. I just hope there will come a time when I can get excited about film music again, when the trends change again.
VERY well said.
Rebirth is THE reason to main course of Poltergeist and is so very evocative. I completely agree with you and wonder if we're correct about today's music...or are we just oldies that aren't changing with the times? (No matter how dull the new times appear to be music-wise)
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meegle:
[...] wonder if we're correct about today's music...or are we just oldies that aren't changing with the times? (No matter how dull the new times appear to be music-wise)
No. You're correct.
Acknowledging the problem is the first step toward fixing it*.
* = this will not be a popular post for some members. ;-)
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I think part of the problem with modern scores is that directors more often than not want cutting edge sounding sound design scores rather than melodic/epic.
I totally agree, this is how it feels these days. I watched the 3rd Man Of Steel trailer and loved the music, so i immediately ordered the deluxe 2 cd edition. Then i watched the film and went 'oh, it's more sound scapes than thematic scoring', and found that most of the music from that trailer was from the last couple of minutes of the film. Now, i don't mind a bit of sound scape music, i find it relaxing, and Zimmer is very good at it. it just wasn't what i was expecting.
As another poster implied, yes, maybe i just like a particular type of scoring which has past. Jerry's score for Alien was to me a wonderful unearthly score, whereas Prometheus in the whole left me cold.
Changing times.......
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What's marvellous about Alien and most of Goldsmith's experimental scores is that they combine original soundscape designs with thematic scoring, melodies, etc.
In that sense, no one was more brilliant. You might like the music of another composer more, but I think it is fair to say no one demonstrated brilliance in both breadth and depth simultaneously as Mr. Goldsmith.
Cheers
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