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Well, you pay for Spotify (but the artists only get a miniscule amount). And not paying for other digital venues will hurt the artists and signal the labels that there just is not enough demand for a CD release.
You are contributing to the problem you are decrying, aren’t you?
This is really not true. The labels have already decided they're not going to release CDs. A few hundred CD sales in a niche genre are not going to change their mind.
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Well, you pay for Spotify (but the artists only get a miniscule amount). And not paying for other digital venues will hurt the artists and signal the labels that there just is not enough demand for a CD release.
You are contributing to the problem you are decrying, aren’t you?
This is really not true. The labels have already decided they're not going to release CDs. A few hundred CD sales in a niche genre are not going to change their mind.
They have decided this based on sale numbers, also digital purchases.
If you don’t believe me, ask them.
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Sigh. Generic chugging, parts of cues that sounds like synth instruments, taking a classic Elfman theme and making it standard and unremarkable.
Listened to three cues. No compulsion whatsoever to hear them ever again, and I have no interest in exploring the rest of the score.
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Well, it’s just Zimmer’s minion - then what did you expect ? 
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Well, it’s just Zimmer’s minion - then what did you expect ?
And again, people make stupid statements, what do you expect?.
Wallfisch have a career before meeting Zimmer, but who cares, if that allow making shit comments.
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That's the point I was trying to make above.
If Wallfisch wanted to score Hollywood A list films, he couldn't coast along writing broad old school symphonic scores.
That ain't legal tender in American films these days.
I imagine his short period working alongside Zimmer helped him in the politics side of modern Hollywood.
Of course the sound is dictated by the studios and producers.
And for the record, I've really enjoyed the scores by the classically trained composers (Doyle, Horner, David Newman) when they've been tasked to do them in the modern style (Thor/Rise of POTA, Karate Kid/Amazing Spiderman, Tarzan).
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The case of Doyle's Thor is studio interference, is true and verified.
Wallfisch's case?, by far, no, like i said, The Invisible Man sound like it sound, no by studio execs, it was because Wallfisch wanted sound like it sounds, he wanted a string orchestra for the main character and dissonance electronics for the Invisible Man, but who cares, when people still thinks is a studio decision, when is not.
The most prominent case, Mortal Kombat, when Wallfisch states he WANTED to homage the original style of the original games (mostly synth stuff), the people said is studio interference, when is not -also i'm said the score is far beyond the hate got and most complex than people think-, also a lot thematic, motif, and theme deconstruction, but who cares?.
One thing is the taste, you don't like this stuff?, it's OK, i don't like jazz -but not consider an awful thing-, and another is the creative decisions make behind the score.
Also as a final state, Summer in February is a fucking gorgeus score and consider Wallfisch's best among stuff like Shazam!, The Invisible Man, Mortal Kombat, A Cure of Wellness, yeah, I say that.
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Well, it’s just Zimmer’s minion - then what did you expect ?
Except that he's not, but what else could we expect from the board's village idiot.
I find it so amusing that you've got your tongue so far up Brian Tyler's ass, even though he's been writing cheap Zimmer knock off scores and other uninspired dreck for more than a decade now, but dismiss composers who are actually talented like Wallfish.
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Village idiot is hardly appropriate and this is why this board can be totally unnecessarily toxic.
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Posted: |
Jun 6, 2023 - 6:09 AM
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By: |
nuts_score
(Member)
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Wallfisch's case?, by far, no, like i said, The Invisible Man sound like it sound, no by studio execs, it was because Wallfisch wanted sound like it sounds, he wanted a string orchestra for the main character and dissonance electronics for the Invisible Man, but who cares, when people still thinks is a studio decision, when is not.
The most prominent case, Mortal Kombat, when Wallfisch states he WANTED to homage the original style of the original games (mostly synth stuff), the people said is studio interference, when is not -also i'm said the score is far beyond the hate got and most complex than people think-, also a lot thematic, motif, and theme deconstruction, but who cares?.
Why are we suddenly removing the tone-deaf directors and producers from this equation? It is film score in the 2020s. Wallfisch doesn't create this music "because he wants to" he creates it because he is a working composer earning a paycheck and under the direction of fickle creatives with very miniscule taste.
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Wallfisch's case?, by far, no, like i said, The Invisible Man sound like it sound, no by studio execs, it was because Wallfisch wanted sound like it sounds, he wanted a string orchestra for the main character and dissonance electronics for the Invisible Man, but who cares, when people still thinks is a studio decision, when is not.
The most prominent case, Mortal Kombat, when Wallfisch states he WANTED to homage the original style of the original games (mostly synth stuff), the people said is studio interference, when is not -also i'm said the score is far beyond the hate got and most complex than people think-, also a lot thematic, motif, and theme deconstruction, but who cares?.
Why are we suddenly removing the tone-deaf directors and producers from this equation? It is film score in the 2020s. Wallfisch doesn't create this music "because he wants to" he creates it because he is a working composer earning a paycheck and under the direction of fickle creatives with very miniscule taste.
This.
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Why are we suddenly removing the tone-deaf directors and producers from this equation? It is film score in the 2020s. Wallfisch doesn't create this music "because he wants to" he creates it because he is a working composer earning a paycheck and under the direction of fickle creatives with very miniscule taste.
So The Invisible Man, Mortal Kombat or even Blade Runner 2049, sounds like it sounds, because producers?
Like i said, The Invisible Man, Wallfisch wanted a string orchestra for the main character (also to homage Hermann's style for Hitchock's movies), and make a synths dissonance to recreate the menace of the invisible agressor, like Wallfisch states in various interviews.
Mortal Kombat have a lot of theme deconstruction, motifs and ideas, also is far more complex score than people said, also stated by Wallfisch in a lot interviews.
Blade Runner 2049, isn't necessary to speak of.
But has always, the producers are the responsable of this, and in those cases is not. Hammer of the Gods, is a true example of you talking, have a little budget, and the director wanted a more hard-rock score, and Wallfisch make that possible. The Darkest Minds is a mess because Jennifer Yu a prime example of temp-track and messing everything (Kung Fu Panda 2, no more questions).
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Posted: |
Jun 6, 2023 - 12:36 PM
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By: |
nuts_score
(Member)
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From your posts, I understand that English may not be your first language and that is quite OK. Maybe I am detailing this wrong. But Wallfisch is a hired hand on these films, whether it is the examples you don't like (The Darkest Minds, etc.) versus the ones you do like (Mortal Kombat, etc.). He is given a budget and is asked to adhere to a schedule based upon the needs and means of the filmmakers, and directed to produce music that is matched to the picture based upon what the filmmakers ask of him. A lot of modern directors (I include Andy Muschietti in this based upon my experience with his movies) have zero music taste and that is not Wallfisch's problem. He is working with the material and inspiration they give to him, against the budget and time table he has to complete that. This is just how scores are made. On the opposite spectrum, I think a director like Leigh Whannell has either better understanding of music or better taste (according to me) and gave better direction to Wallfisch and Wallfisch rose to the challenge versus the budget. Although I wish he had stayed partnered with Jed Palmer I know that larger studio productions like their relationships with composers like Wallfisch and especially when they are presented as a package by talent agency representation.
But at the end of the day, the important thing is enjoying what you enjoy. If you like the movies, if you like the scores, that is a great incentive for your passion in them.
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Posted: |
Jun 6, 2023 - 12:46 PM
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By: |
MikeP
(Member)
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Why are we suddenly removing the tone-deaf directors and producers from this equation? It is film score in the 2020s. Wallfisch doesn't create this music "because he wants to" he creates it because he is a working composer earning a paycheck and under the direction of fickle creatives with very miniscule taste.
So The Invisible Man, Mortal Kombat or even Blade Runner 2049, sounds like it sounds, because producers?
Like i said, The Invisible Man, Wallfisch wanted a string orchestra for the main character (also to homage Hermann's style for Hitchock's movies), and make a synths dissonance to recreate the menace of the invisible agressor, like Wallfisch states in various interviews.
Mortal Kombat have a lot of theme deconstruction, motifs and ideas, also is far more complex score than people said, also stated by Wallfisch in a lot interviews.
Blade Runner 2049, isn't necessary to speak of.
But has always, the producers are the responsable of this, and in those cases is not. Hammer of the Gods, is a true example of you talking, have a little budget, and the director wanted a more hard-rock score, and Wallfisch make that possible. The Darkest Minds is a mess because Jennifer Yu a prime example of temp-track and messing everything (Kung Fu Panda 2, no more questions).
In the end , yes, it can and does come down to the producers and / or director. The composer can say " I think the score should sound like THIS" - and if everybody agrees, goody, he gets what he wants. But as pointed out previously, he is HIRED to do a job - and if the director or producer doesn't agree with the direction of the music, the composer will either do as he is asked, or will be free to seek another opportunity.
There are plenty of stories of top of the list composers who are told what they will and won't include in their score.
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I enjoyed both IT and INVISIBLE MAN films at the cinema.
And although both scores supported their films admirably, I much prefer the IT scores to INVISIBLE MAN.
For me, his score to IT delivered brilliantly dark and ferocious horror scoring alongside some sad, bittersweet moments that elevated the characters and situations.
I don't think you can judge a director or producers taste based on your own personal preferences.
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