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Agreed. Thanks to improved technology, filmmakers have way more control over music than ever before. 20 or 30 years ago the director would just have to trust the composer because all they could hear up until the scoring stage was a piano version of the underscore. Nowadays, composers are asked to do complete sampled mock ups of each cue. The creative latitude a composer is give today is much less than years before. Not coincidentally, the music for those films on average was better (in most of our eyes). Remember, it's a job first and foremost. These guys have to pay the bills just like the rest of us and if they weren't "yes" men, they would find themselves out of work rather quickly.
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The movie is a success.. It made 125 millions in 2 days nationwide... So who cares!!!!! When will you accept that the music in movies is not for YOU but for the picture. And it seemed to work just fine.. Wether you like it or not , it doesnt matter at all! So why are we having discussions about film music AT ALL here? There's certainly no reason for YOU to discuss film music here, as b/o is all that matters. I feel pity for you. Remember, it's a job first and foremost. These guys have to pay the bills just like the rest of us and if they weren't "yes" men, they would find themselves out of work rather quickly. Same here. It's all about "take it or leave it". Nobody in the film business needs to have cohones, because cohones will get you into trouble. Don't take it personally, but such arguments frankly disgust me. That way, we'd still have dictatorships everyhwere, the world would be flat. The world YOU live in I don't wanna live in. Most of the candidates are multi-milionaires already. If THEY can't afford to grow a pair, well, who can? There's ALWAYS a choice.
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The movie is a success.. It made 125 millions in 2 days nationwide... So who cares!!!!! When will you accept that the music in movies is not for YOU but for the picture. And it seemed to work just fine.. Wether you like it or not , it doesnt matter at all! So why are we having discussions about film music AT ALL here? There's certainly no reason for YOU to discuss film music here, as b/o is all that matters. I feel pity for you. Remember, it's a job first and foremost. These guys have to pay the bills just like the rest of us and if they weren't "yes" men, they would find themselves out of work rather quickly. Same here. It's all about "take it or leave it". Nobody in the film business needs to have cohones, because cohones will get you into trouble. Don't take it personally, but such arguments frankly disgust me. That way, we'd still have dictatorships everyhwere, the world would be flat. The world YOU live in I don't wanna live in. Most of the candidates are multi-milionaires already. If THEY can't afford to grow a pair, well, who can? There's ALWAYS a choice. What a terrifically naive perspective you have on film scoring.
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Posted: |
Jun 21, 2013 - 8:14 AM
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By: |
SchiffyM
(Member)
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It's all about "take it or leave it". Nobody in the film business needs to have cohones, because cohones will get you into trouble. Don't take it personally, but such arguments frankly disgust me. That way, we'd still have dictatorships everyhwere, the world would be flat. The world YOU live in I don't wanna live in. Most of the candidates are multi-milionaires already. If THEY can't afford to grow a pair, well, who can? There's ALWAYS a choice. What sort of magical cojones are you suggesting composers should have where they could not only provide a score the filmmakers don't want and also manage to force it into the finished film? Also worth pointing out: The studios want what audiences want. And right now, what audiences want is the sort of score you disdain. Could audiences be delighted by something they don't expect? Sure, it's possible. If you'd spent north of $225 million on this film (not including promotion), would you take that chance? If so, you've got a fantastic pair of cojones.
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Also worth pointing out: The studios want what audiences want. And right now, what audiences want is the sort of score you disdain. You're very naive. Audiences want what production companies program them to want. And they're laughing about said audiences all the way to the bank. What a sorry state society is in if everybody agrees they're being screwed --- and are fine with it.
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Well said and as realistic as most people here obviously are not able or willing to be.
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Remember, it's a job first and foremost. These guys have to pay the bills just like the rest of us and if they weren't "yes" men, they would find themselves out of work rather quickly. I'm not saying Zimmer should tell the filmmakers "sit down and shut-up, I know what your movie needs". But there's a place for a composer to make suggestions, like John Williams telling Steven Spielberg that temp-tracking Jaws with Images is imposing the wrong mood on the film, or Maurice Jarre suggesting that an original cue might work better in Witness' barn-raising scene than Pachelbel's Canon. I have a very strong sense that Zimmer's method of "collaboration"is simply "Whatever you say, you're the boss", which is no doubt a great factor in his success. That and the way his music pets a director's ego, by scoring the films with a bombast that plays to the directors' sense of self-importance.
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