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Well, I've listened to Evil Dead twice in a row now and I'm sure of one thing: modern film music isn't for me.
Evil Dead. The Roque Banos one? Well, that's actually a contemporary example of a sound, well-made "traditional" score by one of the best of today's film score practicioners in recent memory.
That's the insidious irony of it. It IS well crafted. Everything David Coscina said about it was true. It's melodic and compositionally rock solid. Baños IS a gifted composer and I can recognize that intellectually. Emotionally, I just couldn't connect with his score. I just... couldn't.
At least you tried. the piano theme reminds me of vintage JN Howard (a hero of Banos supposedly) and I really like how he shapes the score over all. There are maybe 5 minutes of stuff that raises my eye brow saying "did he use Project Sam's Symphobia for that technique?" but aside from that, well done stuff.
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I don't find this discussion any different than older fans of rock music not connecting to current bands.
Of course YOU don't.
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Well, I've listened to Evil Dead twice in a row now and I'm sure of one thing: modern film music isn't for me.
Evil Dead. The Roque Banos one? Well, that's actually a contemporary example of a sound, well-made "traditional" score by one of the best of today's film score practicioners in recent memory.
That's the insidious irony of it. It IS well crafted. Everything David Coscina said about it was true. It's melodic and compositionally rock solid. Baños IS a gifted composer and I can recognize that intellectually. Emotionally, I just couldn't connect with his score. I just... couldn't.
At least you tried. the piano theme reminds me of vintage JN Howard (a hero of Banos supposedly) and I really like how he shapes the score over all. There are maybe 5 minutes of stuff that raises my eye brow saying "did he use Project Sam's Symphobia for that technique?" but aside from that, well done stuff.
I know. Those "Project Sam" moments are the parts that are most off-putting to me. I LIKED the four-note piano motif and the air-raid siren—reminded me of vintage Goldsmith—the best it's just the whole of it didn't click despite his technique and structure.
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I don't find this discussion any different than older fans of rock music not connecting to current bands. It's still the same genre and is influenced by earlier rock music, but I have heard people in my generation state that they can't connect emotionally to new rock bands. They can objectively appreciate it but what affects them most still are the bands, albums and songs from their youth. Why would film music fans be exempt from this same situation?
It's funny, I don't have that problem. My daughter is 21 years old now and all through her adolescence we swapped music back and forth. I'd introduce her to Led Zep, Pink Floyd and The Rolling Stones and she'd give me Avenged Sevenfold, My Chemical Romance and Lacuna Coil! We both like each other's taste in rock. Except The Beatles. She can't connect with The Beatles!
Hmmmm… come to think of it, maybe this type of problem runs in the family!
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I have to laugh when you wrote that you are old because you came into film music with Back to the Future. Love for music scores is subjective and comparing the 80s to the 90s and to present day is similar to apples and oranges. They're different but they both taste great.
I was born in 1960 and I find the silver age of film music to be the best overall, but that's just me. My parents would say their music is better and my children will say the music they hear today is better. The debate continues and no one age group will win over another.
As for the 80s, I personally feel that film music from this decade began to decline from the silver age in and around 1985, the same year when BTTF came out. Not that BTTF is a bad score, ...it isn't. However, the way scores were being produced for films was beginning to go the way of "cheap". More films were adding rock bands, new age bands or whatever bands to the soundtrack over the usual thematic score the older generation of composers were use to doing. Composers such as John Barry were being pushed to the sidelines while hard rock scores polluted the theater's sound system. Younger composers were using synthesizers over the traditional orchestra because films were costing far more with actors taking huge paychecks. The list is endless to the way film music declined during this period.
However, I'm not completely upset with some music scores of late. Michael Giacchino is brilliant in his work on The Incredibles and Up, as well as Brian Tyler on Iron Man 3 and Thor 2. And despite the negativity Hans Zimmer gets at this website, he came up with a catchy theme for Sherlock Holmes which I though was very good as well as The Lone Ranger. So, as time goes on, I'm sure we will again have a period of wonderful film scores from gifted talent waiting in the wings.
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Posted: |
Dec 12, 2013 - 1:33 PM
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By: |
desplatfan1
(Member)
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This is why I barely come to this forum. You people talk of the same thing every two minutes. I've lost the count of how many times this stuff was posted. You put all the scores around in the same bag, proving how narrow minded you people are. The less you do is actually enjoy a score, or at least appreciate their work in a film.
Film music isn't dead, it's never going to die. Because it's expanding, from a piano solo into a orchestra, to the use of different sounds (three of 2013's scores had the unusual use of skulls as percussion, buzzing insects, and computer noises), and genres.
If you keep expecting that everything will reverse into having a full orchestra playing every 5 seconds with no variations on style, themes, or genres, keep dreaming.
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Posted: |
Dec 12, 2013 - 1:56 PM
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By: |
PFK
(Member)
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This is why I barely come to this forum. You people talk of the same thing every two minutes. I've lost the count of how many times this stuff was posted. You put all the scores around in the same bag, proving how narrow minded you people are. The less you do is actually enjoy a score, or at least appreciate their work in a film.
Film music isn't dead, it's never going to die. Because it's expanding, from a piano solo into a orchestra, to the use of different sounds (three of 2013's scores had the unusual use of skulls as percussion, buzzing insects, and computer noises), and genres.
If you keep expecting that everything will reverse into having a full orchestra playing every 5 seconds with no variations on style, themes, or genres, keep dreaming.
"use of skulls as percussion, buzzing insects and computer noises"
Now you know why I pretty much stay with films scores from 1930 to 1970! 
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You put all the scores around in the same bag, proving how narrow minded you people are.
Damn, my douche meter f**king exploded. Again!
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I get the general feeling that not only is film music "dead" or some other descriptor, it's the film industry itself.
I remember there being a time, maybe 2-3 years ago, where I couldn't go a month without going to see a movie in the theatre. The last movie I saw, is a personal favourite that got re-released, but was "Jurassic Park in 3D."
I saw the first "Hunger Games" film and wasn't blown away by it (I never read the novel so perhaps that has a play in it but I never read the Harry Potters, LOTR, or Hobbit and I liked those).
I did miss Hobbit 1 in theatres, and I plan to see Hobbit 2 and Hunger Games 2 in theatres, but past that, I can't say many movies have come out that have interested me.
And perhaps the issue isn't necessarily film music, but perhaps film music is the symptom.
We claim music today is rather uninspired, but looking at some film scores from smaller films such as "Escape from Tomorrow" and the same composers work which replaced James Horner in "Romeo & Juliet" I have to say is VERY inspiring. I've enjoyed his scores lately.
But perhaps that's the difference today between "industry" vs "independent."
I know that most of the big names out there haven't delivered anything that has interested me in quite some time (I'm still even 75/25 on Avatar and about the same with Hobbit 1).
I mention all this because even Spielberg and Lucas have claimed the industry is dying and perhaps it is. With the economy being what it's been, I can imagine that films and such are sticking with "Safe" over "new" and this can be very strangling to an industry which lives on new ideas and inspiration.
I think we're just seeing symptoms of an "ill" system which is in need of reviving.
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I put my iPod on shuffle through JN Howard's music yesterday. Between Unbreakable and The Village, I was just amazed and genuinely moved by the music. Especially The Village. How lyrical and lovely. Just gorgeous. I don't hear this kind of writing from him any more though Parts of his fare from 2013 harken back to it. For now, Hollywood doesn't believe these types of scores are marketable. Pity.
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