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THE DARK NIGHT
nothing else comes close.
rry.
I agree WAGS...
DKR is better....MUCH better musically. But TDK came first.
Brm
THE DARK KNIGHT was a cultural phenomenon.
Not only a box-office smash, but a critically acclaimed piece of cinematic art.
For those too young to remember....
The film AND the score were widely discussed . both in mainstream media and online in the film community.
It has had a profound impact in the decade since it came out.
Brm
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Really? You're going all the way back to 1998, Paul?
Don't get me wrong, it's a fine score. But it's way too old for this particular query. Heck, even the LOTR scores came after.
Paul Is stuck in the Nineties!
OTTOMH - Scores not written by JW (WAR HORSE) this decade that have memorable themes and well developed melodic material:
THE FIRST AVENGER
MARVEL'S THE AVENGERS
THE AMAZING SPIDERMAN
THE GREAT GATSBY
HTTYD I, II
ALICE IN WONDERLAND
PAWN SACRIFICE
HATEFUL EIGHT
TV:
GAME OF THRONES
WESTWORLD
SHERLOCK
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Thor
American films are still the trend setters.
You may not like it , but you WILL learn to live with it.
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Posted: |
Feb 8, 2019 - 2:20 AM
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By: |
Nono
(Member)
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But seriously -- I know it is a 20-year-old example, but The Red Violin was, well, a hugely important event.
It was rare for someone of John Corigliano's stature (and colossal talent) to score a film -- very important.
The film was designed for the music to be the centerpiece of the story, which is extremely rare -- very important.
It has found its way into classical repertoire, to an extent no other score since (and few prior to that) have -- very important.
It also won an Oscar -- which is probably not that important (but worth mentioning).
Paul is right.
And if "important" means original, everything was done in the 30's, nothing new after that period on how to score a film.
A composer like Arthur Honneger used all kind of approaches, from minimalism to electronic intruments, from popular music to music which essentially rely on rythm. He also used dissonance.
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ALIEN 3 and Thomas Newman's early work (90s).
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And if "important" means original, everything was done in the 30's, nothing new after that period on how to score a film.
LOL! Are you serious?
I think he might have been taking a Devil's Advocate position, Thor.
Right off the top of my head, Planet of the Apes totally throws that idea in the toilet, and of course there have been others.
Important to me can mean popular, harmonically advanced/sophisticated (yet still engaging on some level, even if mostly aesthetic), memorable, groundbreaking, expressive (especially when listeners know the backround of the composition of the piece)….those are just some attributes, and imo great film scores or made out of one and/or a combination of those variables.
Then there are favorites, which are necessarily separated here from what's considered objectively great. Shoot, my 2nd favorite score is Greatest Story Ever Told and that was partly inspired by Barber's Adagio. Do I think it's objectively great, outside of my own connection to that score? Well, I feel it's one of the greats, because it was chock full of memorable cues and imo quite expressive of the crap Alfred had to go through at the time. Plus, Alfred's work with woodwinds and strings on the score was absolutely stellar (both memorable and highly creative from a strictly musical standpoint). Is it as objectively great as Empire Strikes Back? Well, I would like to say so, but as probably unoriginal as ESB was, it still featured parts of great harmonic depth, JW's usual, sensationally expressive orchestration, and it's hard to get much more memorable (amongst other amazing attributes).
Do I like ESB anywhere near as much as Ben Hur, Vertigo, GSET, Boys from Brazil? No way, Jose. That doesn't change its being great.
These are just my views, no better than anyone else's.
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Posted: |
Feb 8, 2019 - 3:54 AM
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By: |
Nono
(Member)
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Right off the top of my head, Planet of the Apes totally throws that idea in the toilet, and of course there have been others.
The music of Planet of the Apes express the the feelings of the characters and depicts the images and action on screen.
Nothing new in film music, apart from the language used.
However, as Goldsmith used to say himself, he did nothing that Rosenman didn't do before him.
Not only scores like that, but someone like Jean-Luc Godard, for example, completely turned classical Hollywood conventions upside-down, especially in terms of how the music was being used.
You may not know what the passionate debate was about film music in France in the 30's. There were articles in the press, essays and public conferences at that time.
Of course, the ideas were limited by the musical language and technology of the era, but everything was already present in substance.
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I think probably a mishmash of The Dark Knight / Inception with Interstellar being a product of the previous two.
When I think "IMPORTANT" I guess I think something like King Kong or Star Wars: Scores suddenly sound like THIS for the next whatever.
Now, someone mentioned Bourne. I'm not familiar with that as much as I should be, but I do bet that every one scoring movies is. It might be that Bourne is the rock in the river and Dark Knight is the rapids that the rock causes.
Great topic, BTW.
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Posted: |
Feb 8, 2019 - 9:50 AM
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By: |
Thor
(Member)
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Now, someone mentioned Bourne. I'm not familiar with that as much as I should be, but I do bet that every one scoring movies is. It might be that Bourne is the rock in the river and Dark Knight is the rapids that the rock causes.
Funny you should use the word 'rock', because prior to BOURNE, Zimmer's THE ROCK was THE benchmark for action music. It was not his first power anthem score; there are traces of it all the way back to BLACK RAIN (1989), at least, and obviously stuff like CRIMSON TIDE. But THE ROCK became such a hit, with massive crossover appeal (I can't tell how many non-film music interested people kept mentioning this score to me for a decade or so), that -- combined with Zimmer's influence in Media Ventures/Remote Control -- it became the go-to sound.
As I mentioned earlier, I always found it amusing that John Powell, who under Zimmer's tutelage composed power anthem scores in his style (FACE/OFF), would branch out and in turn influence his former master with BOURNE.
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Now, someone mentioned Bourne. I'm not familiar with that as much as I should be, but I do bet that every one scoring movies is. It might be that Bourne is the rock in the river and Dark Knight is the rapids that the rock causes.
Funny you should use the word 'rock', because prior to BOURNE, Zimmer's THE ROCK was THE benchmark for action music. It was not his first power anthem score; there are traces of it all the way back to BLACK RAIN (1989), at least, and obviously stuff like CRIMSON TIDE. But THE ROCK became such a hit, with massive crossover appeal (I can't tell how many non-film music interested people kept mentioning this score to me for a decade or so), that -- combined with Zimmer's influence in Media Ventures/Remote Control -- it became the go-to sound.
As I mentioned earlier, I always found it amusing that John Powell, who under Zimmer's tutelage composed power anthem scores in his style (FACE/OFF), would branch out and in turn influence his former master with BOURNE.
I did think about Crimson Tide when I saw this thread. It started showing up in trailers, The Rock borrows a lot from it, I even heard Spielberg talking about it.
That (IMHO) was when Zimmer changed the film music world. If this thread was in 2000 I would probably have cited it.
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