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 Posted:   Sep 30, 2013 - 11:17 AM   
 By:   First Breath   (Member)

Yikes, why don't you tell us what you REALLY feel? wink

Seriously, though, that's fine. You revel in your misery about current times and in the "superior scores of yesteryear", and I'll continue to enjoy the great film music from both past AND present.

To each their own, as they say.


Amen.

 
 
 Posted:   Sep 30, 2013 - 11:17 AM   
 By:   follow me   (Member)


If you miss powerful, romantic orchestral scores, written in the vein of the classics (and also invoking the styles of Williams, Goldsmith, Barry etc), just listen to that youtube link above of Summer In February (Ben Wallfisch).
You'll be surprised how great film music still sounds.


You will be surprised to hear that I own this soundtrack.


Why do people have to be so black and white!


Only god can answer this question. But they are also red and yellow!

 
 Posted:   Sep 30, 2013 - 11:23 AM   
 By:   Vincent Bernard   (Member)

Morricone's got it right! It's all well and good to bitch and moan about how things aren't like they were, but how does that help anything? Why not take the energy required to complain and use it to seek out something different, something new?

This is true of anything, not just music.


Because it MATTERS! Because something is being lost. Because "big, splashy expensive mainstream films" was where the history of film music was shaped. Steiner, Korngold, Rózsa and Herrmann showed what could be gained from hiring great composers to elevate your films. Could any of us imagine KING KONG, THE ADVENTURES OF ROBIN HOOD, BEN-HUR or PSYCHO without their contributions?

For years, Hollywood composers fought to be recognized for their art—and these were men whose art was sublime. Think of all the derision Korngold had to endure for his decision to be a composer in Hollywood instead of Vienna. Goldsmith didn't even like to be called a "film composer" because he felt it belittled him. What a shame!

Now along comes Zimmer and his ilk and Hollywood starts to think that well, maybe we don't need guys who are highly trained craftsmen. We just need guys who know their way around a Casio. In the BBC podcast, Yared talked about his "ethic." How he felt responsible to preserve and expand the art of film scoring. How can we accept anything less?

Look, I agree that there is still great film music out there to be found. Fine. What I'm saying is that Hollywood was usually the place to find it and that it matters that that remains the case. A film score like SUMMER IN FEBRUARY is all well and good, but a critically derided British film that opened 11th at the box office isn't going to help Hollywood see the error of its ways no matter how good the score is.

 
 Posted:   Sep 30, 2013 - 11:24 AM   
 By:   Vincent Bernard   (Member)

Abuse reported.

I think I just pissed myself.

 
 Posted:   Sep 30, 2013 - 11:30 AM   
 By:   First Breath   (Member)

They also look with horror at a business in which people get assignments because they are celebrities from the pop music area but do not have the proper background to compose an orchestral score.

Thank God the "pop" music artists doesn't write orchestral scores. What a lost opportunity *that* would have been.

 
 Posted:   Sep 30, 2013 - 11:45 AM   
 By:   First Breath   (Member)

What I'm trying to say is that the music stood out. It was memorable. Distinctive. No one could mistake one composers' work for another. This happened ALL THE TIME. And the feeling I got from that first viewing of STAR WARS was still there. As soon as the movie was over I had to have the album.

Now, this almost never happens. Goldmith, Barry, Bernstein and Poledouris are dead. The films I see now are worthless as far as their scores are concerned. The music is dull. Boring. Gone are the hummable melodies, the lush orchestrations and harmonies. Zimmer has poisoned everything.


Ridicolous.
You just don't listen to modern music, you just complain and think about old times music.
I really don't miss a big number of Barry boring scores, of Poledouris copy and paste scores, and nearly ALL of last Bernstein and Goldsmith without-soul scores.Not to mention, among the living, all last Williams scores (like Lincoln or Tin Tin which are actually horrible compared to best Williams we all know and have nothing superior to a medium Zimmer score).
Zimmer has refreshed film music, he is a continous innovator and sometimes even revolutionary.

Go back into your grave.


Hear , hear.

 
 Posted:   Sep 30, 2013 - 11:59 AM   
 By:   First Breath   (Member)

Not quite. I was looking for the homepage to insult Zimmer about his stupid and vapid remarks concerning earlier (and better) film music. Maybe it's not a coincidence his homepage is under construction. On some level, subconsciously no doubt, he may have realized finally that he's a complete hack.

Yeah, I'm sure he cares a SHIT what *you* think. An angry little man posting on a forum, LOL!

You know, he's more successful than you.


Zimmer cares enormously that you are defending him like a bulldog.

He might even give you a cookie you know.


Oh no, number three of the holy triumvirate of Yor, OnlyGoodMusic and facehugger.

1 out. 2 left.

 
 Posted:   Sep 30, 2013 - 12:06 PM   
 By:   First Breath   (Member)

Abuse reported.

I think I just pissed myself.


Just what I thought.

 
 Posted:   Sep 30, 2013 - 12:10 PM   
 By:   Miles (MerM)   (Member)

Look, I agree that there is still great film music out there to be found. Fine. What I'm saying is that Hollywood was usually the place to find it and that it matters that that remains the case. A film score like SUMMER IN FEBRUARY is all well and good, but a critically derided British film that opened 11th at the box office isn't going to help Hollywood see the error of its ways no matter how good the score is.

Does it matter, though? Hollywood's not nearly as important to the art of film as it used to be. Independent films are getting more and more prominent, and some of the best films this year aren't coming from the major studios (like Europa Report - which, by the by, has a great Bear McCreary score). And that isn't even counting television, which is getting better, both dramatically and musically, than what's at the multiplex.

So if the best film music isn't attached to whatever silly comic book movie or Michael Bay destructionfest comes out in 2013, then... oh well. Let's be honest, that kind of film is getting the music it deserves.

 
 Posted:   Sep 30, 2013 - 12:10 PM   
 By:   First Breath   (Member)

[
Now along comes Zimmer and his ilk and Hollywood starts to think that well, maybe we don't need guys who are highly trained craftsmen. We just need guys who know their way around a Casio.


Clue. Less.

 
 Posted:   Sep 30, 2013 - 12:27 PM   
 By:   Vincent Bernard   (Member)

Abuse reported.

I think I just pissed myself.


Just what I thought.


…with laughter!

 
 Posted:   Sep 30, 2013 - 12:53 PM   
 By:   Mr. Marshall   (Member)

Maybe climate change (aka global warming) will improve things
brm

 
 Posted:   Sep 30, 2013 - 12:58 PM   
 By:   Mr. Marshall   (Member)

Are people on this board bashing Zimmer AGAIN?????!!!
My Lord.
If he is such a hack, why do ya think successful directors like Nolan, Scott, Howard, MALICK
etc. etc use him.
And why am i even bothering with this idiotic topic?
brm

 
 
 Posted:   Sep 30, 2013 - 1:53 PM   
 By:   Thor   (Member)

Look, I agree that there is still great film music out there to be found. Fine. What I'm saying is that Hollywood was usually the place to find it and that it matters that that remains the case. A film score like SUMMER IN FEBRUARY is all well and good, but a critically derided British film that opened 11th at the box office isn't going to help Hollywood see the error of its ways no matter how good the score is.

Does it matter, though? Hollywood's not nearly as important to the art of film as it used to be. Independent films are getting more and more prominent, and some of the best films this year aren't coming from the major studios (like Europa Report - which, by the by, has a great Bear McCreary score). And that isn't even counting television, which is getting better, both dramatically and musically, than what's at the multiplex.


That is an excellent point that I forgot. So much great music coming out of the improved art of television drama these days. Heck, for all the traditionalists out there, you need to look no further than Murray Gold's brilliant DR. WHO scores.

 
 Posted:   Sep 30, 2013 - 2:09 PM   
 By:   Other Tallguy   (Member)

Are people on this board bashing Zimmer AGAIN?????!!!
My Lord.
If he is such a hack, why do ya think successful directors like Nolan, Scott, Howard, MALICK
etc. etc use him.
And why am i even bothering with this idiotic topic?
brm

I don’t think he’s a hack. (The interview didn’t do him any favors, but I don’t think it was meant to. His lackey sounds like a hack. And a lackey.) But why is he (and his “sound”) SO popular with film makers? And is the Zimmer sound that popular with movie goers? Or is it just all they are offered? (“All” is an over-simplification, I know.) I know Gladiator was wildly popular. As was Pirates.

Heck, I was listening to Man of Steel today because of this thread. I can largely dismiss it, but boy when the strings and the drums take off in “What are you going to do…” it’s amazing. Part of my brain says “This is nowhere near as smart or complex or even as satisfying as Williams” but the other part of my wants to leap tall buildings in a single bound. It’s wild.

That is an excellent point that I forgot. So much great music coming out of the improved art of television drama these days. Heck, for all the traditionalists out there, you need to look no further than Murray Gold's brilliant DR. WHO scores.

I cannot argue with that. At all. I also thought McCreary’s SHIELD sounded pretty good. I’ll listen more closely this week.

 
 Posted:   Sep 30, 2013 - 3:57 PM   
 By:   Peter Greenhill   (Member)

I thought the programme wasn't particularly critical of Zimmer. It was critical of the commitees that want their movie to have a score that sounds like Zimmer because it's a risk free strategy and so we have a homogenous sound occuring again and again.

 
 
 Posted:   Sep 30, 2013 - 4:13 PM   
 By:   facehugger   (Member)

I thought the programme wasn't particularly critical of Zimmer. It was critical of the commitees that want their movie to have a score that sounds like Zimmer because it's a risk free strategy and so we have a homogenous sound occuring again and again.

Zimmer's problem is that, while he is factually a business man with a Casio, he THINKS himself as an artist. And he bullshits all the way to the producers with his "artsy" gimmicks --i.e. according to the program, smashing a grand piano for Sherlock Holmes, "minimalism with maximum production value" etc.

And that makes him appear arrogant and laughable. His music, on the other hand, functions pretty well as glorified pop tunes.

Lorne Balfe, on the other hand, at least candidly admits that he is just a production-line drone, doing nothing more than following orders and putting bolts and nuts together. A respectable and honest guy, that Balfe is.

Tyler Bates is revealed to be quite dishonest in the programme.

 
 
 Posted:   Sep 30, 2013 - 5:54 PM   
 By:   dan the man   (Member)

TO KHAN- WHY DON'T YOU GO INTO OUTER SPACE WITH YOUR COMMIE FRIEND YOR.

 
 Posted:   Oct 1, 2013 - 7:36 AM   
 By:   Khan   (Member)

Oh, look, dan the man is angry!

And to answer your request (where's the question mark?): no.

 
 Posted:   Oct 1, 2013 - 1:04 PM   
 By:   Mr. Marshall   (Member)

Besides, you can be a wonderful symphonic writer without ever being part of the 'concert scene'. In fact, many are better off outside it.


Fact is, NOT ONE of the RCP hacks is a "wonderful symphonic writer", or a "wonderful writer", or even a writer.


I guess you missed HOW TO TRAIN YOUR DRAGON a score that will takes its place amongst the finest EVER wriiten
brm

 
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