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....that composers produced some of their best works? I mean, between just Goldsmith and Williams there wasn't a stinker between them! I think ALL the working composers at the time were just knocking it out of the ballpark! I don't even need to list any titles... but please feel free to list them if you want, and your thoughts as to why these two particular years were amazing years for film scores!
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I think there was an alchemy of Williams ("Jaws") and Goldsmith ("The Omen") being the two most recent Best Score Oscar winners - their style was thus especially hot - and the interest some of the new and prestige Hollywood directors (Lucas, Spielberg, Hyams, Nicholas Meyer, De Palma etc.) had in reviving lusher film music sounds.
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...Wow yes!! Don't forget those War Pics - Addison's A BRIDGE TOO FAR, Goodwin's FORCE 10 FROM NAVARONE and Budd's THE WILD GEESE. Oh! And a very different type of film/score; hot on the heels of ASSAULT ON PRECINCT 13, John Carpenter's HALLOWEEN.
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Posted: |
Jun 19, 2016 - 5:42 AM
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By: |
Ny
(Member)
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May I postulate what might be a part of a theory?
It was the end of one cinematic area on a high point. With cerebral thrillers and streetlevel-driven drama, supported by introvert scores. Then came high profile blockbusters with great symphonic scores out of nowhere! The music was romantic and expressive.
It resulted in creative collusion. Perhaps the confusion and contrast drove film scoring (and film making) into this exciting direction.
yeah the adventure spectacle era was beginning, the hollywood arthouse era was ending (unfortunately for screenwriters and actors, but fortunately for score fans i guess). I don't know enough to be able to trace the influence of the previous decade on the new music exactly, but composers clearly made the most of the new direction for as long as they could.
The profits from the adventure spectacle have been so consistent it hasn't allowed for any new era to emerge, and the bad news has caught up with composers too, as the needs of the audience have seemingly become simpler?
anyway in 78 we were well cultured, and we had Raiders, Conan, Alien etc etc all to look forward to.
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Tangerine Dream's Sorcerer and Giorgio Moroder's Midnight Express and John Carpenter's Halloween showed that something NEW was starting in Hollywood. Thankfully...
Say no more.
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Movies were not yet viewed purely from a marketing standpoint. Therefore composers were given a chance to compose what they felt was right for the film.
These days, it´s so marketing driven, the filmmakers can make suggestions - but mostly they are outnumbered by the marketing execs who only want to manufacture a product that will not alienate the customer. And since a certain type of score - you know which one - was succcessful once it has to be re-created again and again.
In other words, a film score most of the time is not a creative endeavour anymore, more an additional sound effect that has to be wallpapered in.
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Why stop at '78?
1979 gets my vote as the best year in movie history and produced some immortal scores.
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