Looks like Reznor and Ross will be using an orchestra for this one
That's good. I know they have volumes of experience with writing for real musicians. not.
Nor did Elfman when he started out. So your point is?
It's well documented that Shirley Walker had a big hand in assisting Elfman with the orchestral chores for Batman and quite a few of his subsequent scores in the early '90s. Also, Elfman was raised on Prokofiev and Herrmann's music so his affinity for orchestral vernacular was more profound than many other rock refugees. Plus he's a bit of an anomoly. I wouldn't use Elfman as the template to judge everyone from pop/rock who migrate to film scoring using orchestra.
Jonny Greenwood is only an exception because he studied classical performance/composition in college before dropping out to go on tour with Radiohead.
I don't understand the utter HATRED people have for Reznor and Ross.
I post less and less here because the negativity is just down right staggering.
Let's just look at the facts:
I stand with and agree that Hans Zimmer is a destructive force in film music. I like a lot of his work and I do think it suits the films he does but like all, I hate how many other composers are told to copy his style and how many films all sound the same.
Hell its 2014 and I feel every other trailer sounds like INCEPTION!
But then these two composers along with a handful of others from other fields of music come in and do something DIFFERENT and once again everyone calls it junk, trash, garbage and even more insulting, people who don't make music tell established musicians they are hacks.
Fine, you don't like Daft Punk, Nine Inch Nails, The Chemical Brothers, The Dust Brothers, BT, and others of the like and are more then justified in hating those scores because that's what makes us unique... but what HARM do they do?
The Social Network WON Best Original Score and thankfully has not inspired copy cats galore but everyone wants these hacks to be replaced by real composers but it has to be GREAT composers and not RC/MV clones and they have to be blah blah blah....
It simply is the score that director David Fincer wanted for his film and that is all.
If you don't like it more power to you but what gives people the right to act like they are authorities?!
It would be like me saying Michael Mann should have directed NO COUNTRY FOR OLD MEN because he knows how to make a compelling crime drama far better than The Coens.
True. For all we (I) bitch about most film music being totally brainless and samey these days, the scores that take the kind of risks and challenge us the way film music USED to are done by "outsiders."
It would be like me saying Michael Mann should have directed NO COUNTRY FOR OLD MEN because he knows how to make a compelling crime drama far better than The Coens.
Bad example - he can´t.
I guess the negative reaction to THE GIRL WITH THE DRAGON TATTOO-score was mainly based on its strategy to use atmospherics and noises to the max.
I prefer the score of THE SOCIAL NETWORK. Yet, I hope that for GONE GIRL they will stop doing their gimmick-stuff and think about great, haunting melodies first before they distort them.
It would be like me saying Michael Mann should have directed NO COUNTRY FOR OLD MEN because he knows how to make a compelling crime drama far better than The Coens.
Bad example - he can´t.
I guess the negative reaction to THE GIRL WITH THE DRAGON TATTOO-score was mainly based on its strategy to use atmospherics and noises to the max.
I prefer the score of THE SOCIAL NETWORK. Yet, I hope that for GONE GIRL they will stop doing their gimmick-stuff and think about great, haunting melodies first before they distort them.
There was probably a pretty interesting 30-40 minute album to made out of Dragon Tattoo. Any of the cues that used piano were pretty cool.
I don't understand the utter HATRED people have for Reznor and Ross.
I post less and less here because the negativity is just down right staggering.
Let's just look at the facts:
I stand with and agree that Hans Zimmer is a destructive force in film music. I like a lot of his work and I do think it suits the films he does but like all, I hate how many other composers are told to copy his style and how many films all sound the same.
Hell its 2014 and I feel every other trailer sounds like INCEPTION!
But then these two composers along with a handful of others from other fields of music come in and do something DIFFERENT and once again everyone calls it junk, trash, garbage and even more insulting, people who don't make music tell established musicians they are hacks.
Fine, you don't like Daft Punk, Nine Inch Nails, The Chemical Brothers, The Dust Brothers, BT, and others of the like and are more then justified in hating those scores because that's what makes us unique... but what HARM do they do?
The Social Network WON Best Original Score and thankfully has not inspired copy cats galore but everyone wants these hacks to be replaced by real composers but it has to be GREAT composers and not RC/MV clones and they have to be blah blah blah....
It simply is the score that director David Fincer wanted for his film and that is all.
If you don't like it more power to you but what gives people the right to act like they are authorities?!
It would be like me saying Michael Mann should have directed NO COUNTRY FOR OLD MEN because he knows how to make a compelling crime drama far better than The Coens.
I feel same way. I thought that Daft Punk made a wonderful effort on "Tron Legacy".
I guess what bugs people is the fact that "The Social Network" won an Oscar.
The Girl with the Dragon Tattoo FYC album is a fantastic and digestable piece of work.
The soundtrack release is Complete but staggering. It took me three days to listen to it all. One disc a day about three times each.
I agree. It's a shame the FYC wasn't the version released as the commercial album. It's one of my favorite score albums of the last 5 years. The 3-disc commercial album is just too much music for me, in no discernible order. I listened to it just one time and it took me three days as well to make my way through it. The FYC, however, I listened to for weeks in my car.
This cue from the finale of the film, "Heartbreak", is my favorite piece of film score from that year:
Wonderful posts, jamesluckard! I'm happy that listeners are still finding something to keep coming back to this score for.
I enjoy both the FYC and the original album, but both are such different experiences. The former is a perfect accompaniment for the film and a satisfying listen for an hour and a half. The latter is a grand experience of an album, but it will test and ultimately drain you.
I don't have a problem with "outsiders" composing film scores (I've been loving Jonny Greenwood's work for PTA, for example); my problem with Reznor/Ross is simple: I haven't been impressed with what they have done so far. Nevertheless, I eagerly await both the movie Gone Girl and its score.
I don't understand the utter HATRED people have for Reznor and Ross.
I post less and less here because the negativity is just down right staggering.
Let's just look at the facts:
I stand with and agree that Hans Zimmer is a destructive force in film music. I like a lot of his work and I do think it suits the films he does but like all, I hate how many other composers are told to copy his style and how many films all sound the same.
Zimmer isn't a destructive force in film music. Directors and producers who don't enjoy traditional orchestral scoring and studio lunkheads with no imagination are the problem.
I don't have a real hatred for Reznor and Ross, just for their Social Network score, which wasn't awful, but it just wasn't anything...that was the problem with the score as I see it. It did absolutely nothing at all to enhance the movie or drama in any way, shape, or form
The Dragon Tattoo score was - for me - still largely ( but not completely ) unlistenable, due to the types of electronic scoring that is appealing to me. In this score there were some passages I enjoyed very much and found it to be a huge step forward from TSN. But the commercial album was way too much to ever wade through and enjoy ( keep in mind I feel the same way towards Shore's mega LOTR boxes - I'll never ever enjoy those, tremendous overkill. Those scores play way better at 1 or 2 discs ).
Their being hired for Gone Girl didn't thrill me, but this is more about Fincher's preferences, as he seems to have lost interest in melodic or thematic orchestra. Hell, David Shire's Zodiac score is low key and almost ambient as is .
