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Um, no, no he isn't. In any way, shape or form. I've heard two scores from him I enjoy, but...to say he's the future of film scoring is downright ridiculous ( as ridiculous as pegging most any composer with that title ). He can write effective music, but most of his work - not all - is either forgettable or awful. He's flavor of the month right now. I feel this completely. But I'm just not clicking with any of the current film composers, really. I think Holkenborg brought a lot of the bad to Zimmer's music, personally. From what I've heard in the industry he was so much in the right place at the right time...unfortunately that kind of thing takes precedence over skillset today....and yes, I mean particularly in Our Music.
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And 20 years ago, The Blair Witch Project was "the future of cinema".
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I’d like to believe John Powell is the future of film scoring..
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Does anyone honestly think we'll ever have another period in film music as fruitful and bountiful as we did from the late 70s through the 80s? It's fucking BLEAK out there right now. Only if you listen to the most mainstream scores from the most mainstream films (and, really, not even then: just last year we had SOLO and FANTASTIC BEASTS II and READY PLAYER ONE and a new MARY POPPINS score from the main studios, among many other great ones). Composers like Giacchino and Powell and Desplat and Silvestri and James Newton Howard are writing as well as they ever have. The film music scene from American independent cinema, in the UK, in Spain, in France, and in Japan and Korea and China is absolutely thriving - full of rich emotional orchestral scores, strong main themes, and classically inspired writing, as well as influences from a variety of world music sources and alternative genres. Seek out music from Roque Banos, Philippe Rombi, Federico Jusid, Naoki Sato, and dozens of others. You just have to be prepared to actually go out and look for it, instead of just complaining about what seeps out of the multiplexes.
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Does anyone honestly think we'll ever have another period in film music as fruitful and bountiful as we did from the late 70s through the 80s? It's fucking BLEAK out there right now. Actually the era you admire ended in late 90's. See my thread on the subject.. But Broxton makes good points about modern scoring, esp. the non-traditional approaches. Brm
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That's just it...thirty years ago, great film music was pretty much EVERYWHERE, even on terrible genre crap. Nowadays if a studio blockbuster has a lush, melodic orchestral score with several distinctive themes, it's an anomaly (and critics will go out of their way to complain about it ). So music should never change?. That's the death of the art form.
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Posted: |
Feb 5, 2019 - 10:50 PM
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By: |
Leorx
(Member)
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That's just it...thirty years ago, great film music was pretty much EVERYWHERE, even on terrible genre crap. Nowadays if a studio blockbuster has a lush, melodic orchestral score with several distinctive themes, it's an anomaly (and critics will go out of their way to complain about it ). Not really, I can't think of that much truly great film music that was written 30 years ago. Good yes, but not that great. Why must it always be these lush, melodic scores that are viewed as great? There is of course room for that kind of writing too, but in general, I do view it as passé (at least if we are talking about scores like Star Wars e.g.) and far from what the best film music has to offer at its best. I don't think I can think of any lush, melodic score written in the last 2-3 decades that contains something that truly represents film music at its very best. It seems to have been done better in earlier decades of film music. For most of what John Williams does for instance, see Korngold as someone who did that style better. Oh wait I forgot, Angels in America, if we count that as film music, is the only lush, melodic film score that came out this century that comes to mind from this century that represents film music at its best. I would maybe accept The Lord of the Rings too. But aside from these 2-3 exceptions, the rest just isn't doing it.
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Id...id...idi...
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That's just it...thirty years ago, great film music was pretty much EVERYWHERE, even on terrible genre crap. Nowadays if a studio blockbuster has a lush, melodic orchestral score with several distinctive themes, it's an anomaly (and critics will go out of their way to complain about it ). So music should never change?. That's the death of the art form. Change from great music with several distinctive themes into droning sonic wallpaper? No, that should not have changed, and it would have kept this art form alive and well.
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Posted: |
Feb 5, 2019 - 11:59 PM
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By: |
Leorx
(Member)
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Cliff Martinez is the composer who might be the most deserving of being called the future of film scoring for me. His score for Solaris in particular was maybe the last most important film score. Simply one of the best examples of electronic music in film ever, period. Drive is another fine score that like Solaris, works as well as a concept album of electronic music, a pretty rare achievement for film scores. These two are Martinez's biggest standout scores. With Solaris, Martinez wrote one of the top 5 film scores this century I would argue, and exemplified one of the best uses of electronic music in film ever (top 10). That goes beyond the accomplishments of any film composer I can think of this century so far, with only three notable exceptions, Williams's A.I. score, Newman's Angels in America and Shore's The Lord of the Rings. Even top film composers such as Ryuichi Sakamoto for instance and leading artists in the field of electronic music have acknowledged Martinez's score and even rank it among the best film music of all time. Martinez's score also went beyond film music and has also became a cult classic of a concept album of electronic/minimal ambient music. I place my hopes on Thomas Newman and possibly Elliot Goldenthal as far as the future of orchestral writing in film goes. That problem with what I have just said is that the three film composers I just mentioned - Martinez, Newman and Goldenthal are in their 60s already. I can't think of anyone under the age of say 50 that I view as the future of film scoring.
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