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“I think Trent got the bug in [Justin’s] ears,” said Purple. “Because there’s no pressure. You can do something musically, and if it bombs or blips, he’s not going to get hell for it.
Obviously they've never visited these boards before.
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I thought it was going to be ZOOBA!
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I'm prepared to go in with an open mind—and will delightfully tear the score to shreds if it doesn't deliver! Muahahaha!
But seriously, I'm excited to hear what Timberlake produces for his first orchestral film score. Maybe it will be great, maybe it will be adequate, maybe it will suck. But it will be interesting to experience.
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Out of curiosity, does anyone remember the reaction amongst score fans when Hans Zimmer or Danny Elfman starting scoring films? I ask out of curiosity... I was too young to notice film scores (other than Star Wars) at that point.
Chris
I wasn't around at the time, but I doubt Hans Zimmer's transition into the film world was noticed by anyone. He worked with a variety of new wave bands during the 70s and early 80s, then worked for some time with an established film composer before receiving his first major solo Hollywood assignment in '88: Rain Man. Prior to that I don't think he was exactly "known" for either his new wave music or his film music.
Elfman, however, is probably a completely different story.
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JW made quite a few pop jazz recordings in the early 60s before going all in on Neo Classical/Film Composition so its not like there isn't a precedent here.
Always assuming that the musical educations offered by Julliard and The Mickey Mouse Club are broadly equivalent 
I believe that's actually Juilliard's latest marketing slogan: "Just about as good as the Mickey Mouse Club. Apply today!"
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JW made quite a few pop jazz recordings in the early 60s before going all in on Neo Classical/Film Composition so its not like there isn't a precedent here.
It's a little different- one pop music and jazz are very different disciplines and Two Williams was an arranger for both which meant he had a solid grounding in orchestration, harmony, counterpoint etc to work as said arranger in that era. The transition for him to orchestral film scores was not a huge one.
That said, I like the track in the link from Timberlake. It's not orchestral by any means and even the article states that it's focssuing on guitars with a bit of strings (that he admitted getting help on arranging for by a friend who's a film composer).
There's so many cases of people migrating to scoring films from other styles and various levels of formal education that it shouldn't really come as a surprise to anyone anymore. Film music can encompass a huge array of approaches from ambient to groove based to orchestral. For this film, he will deliver a score that the filmmakers are looking for. Whether we like it is totally irrelevant as it really is in all cases to be honest.
I wish Timberlake well on this new endeavour. In time I'm sure his scoring skills will grow just like Elfman's did (though we must remember that Elfman's influences were guys like Herrmann and Prokofiev- pretty good orchestral film scoring role models).
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