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Posted: |
Oct 12, 2021 - 10:59 AM
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By: |
jackfu
(Member)
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I don't know, really. I mean, how popular are filmscores nowadays anyway, as compared to, say the halcyon days of Jaws, Star Wars, etc.?
I think that filmscores that have been or will be major hits will likely accompany films that are also big hits, as far as fans noticing them.
On a personal level, a film that is particularly memorable for its score is usually what peaks one's interest in the first place. If you saw Jaws in its initial run (1975), you couldn't help but be impacted by the film and the score. They typically are part of the whole, aren't they? A filmscore that is, if you will, "hummable" will tend to be one that will start the otherwise uninterested to start listening.
So, if a new film comes along and it and its accompanying score connect bigly with audiences, then yes, it might start a new generation of filmscore fans.
Thanks!
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I think a lot of it has to do with connecting strongly with a particular movie itself. Let's say you're a teen and you really got heavily into Tenet or Joker, to cite two examples. You love these films so much that their respective scores find favor with you by association. You put their tracks on your playlist and maybe they'll be your gateway into more film music, both new stuff and older.
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Posted: |
Oct 13, 2021 - 2:15 AM
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By: |
Thor
(Member)
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Born in 1977 (and as such technically part of the generation of fans that came into film music through STAR WARS), my own discovery of film music really came around 1990 and the early nineties, with scores such as TWIN PEAKS, JURASSIC PARK and THE ABYSS as the three early cornerstones. But just a few years later, when my own film music fandom was firmly cemented, I noticed another score that seemed to recruit new film music fans left and right -- the "new" STAR WARS, in a way. That score was THE ROCK. Friends of mine who had no interest in film music fawned over that (as did I, of course, even though I was already a fan). Much like AMELIE and other scores of that period, it became a big crossover success. Of course, Zimmer continued to recruit new fans with GLADIATOR, the PIRATES movies etc. in the years that came, and continues to this day.
In fact, whenever I meet young people and kids these days (when I do lectures on film and film music, for example), Zimmer is THE go-to guy, but now it isn't so much THE ROCK and that kind of stuff (that's OLD!), but rather INCEPTION, INTERSTELLAR etc. Other names on their radar include Ramin Djawadi, Angelo Badalamenti (the Lynch coolness factor lives on, even though the composer himself is far too old for them), Cliff Martinez, Harry Gregson-Williams....and if they have a little bit of "cineaste" gene in them, names such as Daniel Lopatin, Nicholas Brittell, Mica Levi, Johann Johannsson, Hildur Gudnadottir, Johnny Jewel.
Morricone, Williams, Glass, Shore and Horner (somewhat) are also on their radar among the "old ones". Sorry, Goldsmith fans, I've not yet encounted a kid who brings up that name. Silvestri has had a little bit of "new spring" with the AVENGERS music, but he's by no means a household name among this crowd.
As for recent, individual non-Zimmer film scores being brought up by these kids, that varies considerably. THE SOCIAL NETWORK and TRON: LEGACY were big ones, but that's already 10 years ago.
As always, one needs a little bit of time to properly assess what registers as major discoveries and favourites among the younger generation. It's not easy to assess WHILE it's happening.
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I agree with all of you pointing out the strong connection to a movie that has young people excited.
And even if it is hard for some to believe - I heard teenagers coming out of "No Time To Die", eager to download the soundtrack by this guy, Hans Zimmer... he did the "Pirates" movies their parents like to watch, right?
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