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Marco Beltrami (The Homesman), Danny Elfman (Big Eyes), John Powell (How To Train Your Dragon 2), Trent Reznor (Gone Girl) and Hans Zimmer (Interstellar) discuss the process behind scoring the top films of the year.
https://www.youtube.com/watch?v=gSAF9_ZHjfc
Interesting group of composer. Wonder if there was any tension, considering one of them called the music of another "silly circus music", and yet another one apparently "stole" the Oscar from two of them. Poor Marco Beltrami 
Seriously though, looking forward to listen to this later today
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It's great just as usually... but way too short and no idea what is someone like Reznor doing there.
You may or may not like his music, but he scored one this year's best films and is a contender for an Oscar nom. So why wouldn't he be there?
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Posted: |
Dec 24, 2014 - 3:05 PM
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By: |
DS
(Member)
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David Fincher's direction of "Gone Girl" - which includes what he called for from Trent Reznor - wasn't my cup of tea, but Reznor is one of two people at the table who has won an Oscar and the score has received effusive praise, so it's easy to see why he's here. To me he is also here representing a big chunk of a kind of contemporary film/tv music that I myself may not care for (most of the time), but the sort of thing Reznor does is undoubtedly a popular, widespread approach that a ton of directors/producers go for. His presence is valid.
I enjoyed this roundtable mostly because - whether their work this year was good or weak, or whether I'm a fan or not - each composer is respectful and neat to listen to.
The best part was Elfman's borderline rant about how often he hears people say that film music is or should always be in the background & not noticeable, then he talks about how when he was growing up in the 1950s and 60s he would always notice the music and where has the acceptance of that approach gone? I could tell that every other composer in the room wanted to add to that but any further remarks didn't make the final cut of the video. Elfman's "rant" makes me wish, however, that Tim Burton had directed Elfman toward a 50s/60s-sounding score for "Big Eyes," which instead (ironically? given Elfman's comments & the period the film is set in) opts for a score that's not only very contemporary but also very much "in the background."
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That thing where they show clips of the movies they're talking to the composers about and the music isn't even from the movie or by the composer.....that's some bullshit.
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And Horner's tired grab bag of same old, same old for Avatar doesn't hurt that movie?
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Posted: |
Dec 25, 2014 - 9:28 AM
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By: |
Francis
(Member)
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*sigh*
FSM in true conservative form, I see.
Reznor has done some marvelous work for films over the last years, especially Fincher's films, and comes from a slightly different angle than the other composers around the table. He also has some very interesting things to say, so I -- for one -- am glad he was there.
I agree with Thor but if you were to focus purely on his film music, you could argue that his oscar was undeserved and you don't think the man can score a film. What so many of his detractors always leave out of the big picture however is that he was one of the most influential music artists during the 90s and arguably still today, being the poster boy of industrial rock and a dream producer for any artist to collaborate with or get remixed by. He has a distinguishable "sound" and aside from his peers influenced musicians far outside of the "film music cocoon".
Like it or not, at that particular table, he is the most influential musician out of the bunch. He might not be the most versatile film composer, though I do believe he obsesses to get it right.
Also as Thor points out, he got to score those movies. Arguably the best director working today and having worked with the likes of Goldenthal, Shore and Shire didn't go, "hey get me Danny Elfman or get me Hans Zimmer"; no he said "get me Trent Reznor". That would IMO qualify him to be part of any composer roundtable.
Actually, I don't think I can envision a composer roundtable now without Trent Reznor. Every film composer roundtable from now on should have an empty seat with the name "Trent Reznor" on it, in case he might decide to participate.
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And Horner's tired grab bag of same old, same old for Avatar doesn't hurt that movie?
OK, name one score in which he used electronics in the same way as in Avatar.
Terminator Salvation?
The love theme from Titanic somehow appears, as does the umpteenth references to The Rocketeer/Star Trek II/Aliens, also the theme from Glory! It's a mess! He spent a year to come up with that? Any argument you have about Reznor and his sound is invalidated by your support of Horner, a composer who has been phoning it in since he became a kajillionaire. While you might not like Reznor's music (I'm up and down on his film work), you can't say that he's not at least trying something different.
I'd love to hear what someone like that guy Olivier Derivière could bring to the Avatar sequels. Horner's given film all he's got. And I say that as someone who used to love his music, despite all of the steals (his pre-Simon Rhodes scores at least SOUNDED good).
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Yeah, that's not answer to my question.
Just usual trolling.
How is it trolling? The electronics in Avatar are right out of Danny Elfman's playbook. Some of the action music (like the Thanator Chase) sounds more like Elfman than Horner (until he throws in the Aliens horn).
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