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 Posted:   Feb 20, 2019 - 5:24 PM   
 By:   mistermike   (Member)

 Posted:   Feb 21, 2019 - 10:49 AM   
 By:   Sean Nethery   (Member)

Thanks for posting - a good, prickly read. Which makes sense given the subject. I'm quite fond of a number of these experimental scores, while also digging the good old fashioned heart-on-the-sleeve tropes.

 Posted:   Feb 21, 2019 - 2:51 PM   
 By:   Adm Naismith   (Member)

'Barrow echoes the notion that directors are leading the charge: “They are fed up with stock music scores and want to go directly to the people who make the music that inspires them.” '

I'm still waiting for one of these scores to truly inspire me.

I have lots of stuff from the 70s that is experimental AND memorable. But I came to it mostly recently.
I think we're still another 10 yrs out before we can look back and find out what from the Aughts, and certainly the 2010s, will stand for the ages.

The article talks about directors that want scores that stand out as much as the characters in their movies.
Witness for the prosecution: ST-TMP. A post modern score with melody and structure that is as important to that movie as the reassembled cast & the redesigned Enterprise- but not for a moment boring or unmemorable, coaxed out by a director who found Goldsmith's initial ideas insufficient to the task.

 Posted:   Feb 21, 2019 - 7:30 PM   
 By:   mducharme   (Member)

I personally did not really care for the score for "The Social Network", but I wouldn't necessary classify any of those scores that they listed as "experimental". When I think of experimental music I think of contemporary classical masterworks by Ligeti, Xenakis, Penderecki, Saariaho and others. The music they list is not really "experimental" other than the style differs from the typical "film score" style, if there is such a thing, and is therefore more of an experimental approach to scoring rather than the music itself being experimental.

I notice also a trend that musicians with a pop background are given latitude to "experiment" that would basically never be given to more mainstream film composers. It's not really a "golden age" if they just give these jobs to well-known pop musicians while requiring that other composers write music that is more conventional and follows the temp better.

The real problem is so many films are so formulaic and cookie-cutter because of the propensity to make films that are "safe bets" that check a bunch of boxes. Studios feel safer doing remakes of old films that were popular, or releasing new films that borrow many plot elements and cliches from other movies that did well at the box office - for instance, the large number of young adult films that came out after "The Hunger Games" was a hit. If the filmmakers and studios are too afraid to take risks with other parts of their films, they certainly aren't going to want to take risks with the music.

 Posted:   Feb 21, 2019 - 8:34 PM   
 By:   jkruppa   (Member)

This article brings to mind the question of what film scores really can be accurately called "experimental." And I would take this all the way back to the beginning of film scores. Maybe this deserves a thread of its own?

 Posted:   Feb 21, 2019 - 8:50 PM   
 By:   Mr. Jack   (Member)

These days critics think any score that sounds like a vacuum cleaner droning on for two hours is "experimental". Nowadays the most radical thing a movie score could do is sound like MUSIC.

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