Not sure why Desplat was brought into this. He's about the most boring composer I can think of, and doesn't even reach the aforementioned composers to the ankles.
I also believe that opening the door to the scoring process in general to these kind of artists (Greenwood, Yorke, Cave, Ellis, Reznor, Richter, Gunnarsdottir) is lowering beyond repair the dramatic and emotional standards of the music and its function in films, as we have been accustomed to.
Oh come on!!!!!!
For your information, lots of those old symphonic composers are dead now, so we are in need of some NEW composers.
For your information, lots of those old symphonic composers are dead now, so we are in need of some NEW composers.
Well, sure, we are in a desperate need of some new COMPOSERS, because for your information, none of these noise-makers could be classified as such.
Whatever.
And your comment about today's scores being "invisible, inobtrusive, emotionless".... that's simply a sweeping statement. I don't think you have listened enough to contemporary film music.
And your comment about today's scores being "invisible, inobtrusive, emotionless".... that's simply a sweeping statement. I don't think you have listened enough to contemporary film music.
All the contrary. You haven't been paying attention.
And your comment about today's scores being "invisible, inobtrusive, emotionless".... that's simply a sweeping statement. I don't think you have listened enough to contemporary film music.
All the contrary. You haven't been paying attention.
Oh, so you mean if I start to "pay attention" to contemporary film music, then I will change my mind about scores I find vibrant, exciting and innovative, and realize the same scores are invisible, inobtrusive and emotionless?
I'm not saying Thom Yorke or Nick Cave are the greatest things film music have ever seen, but at least they are DIFFERENT.
Obviously your concept of vibrant and exciting is very different from mine. I don't want to argue about personal preferences, because as said previously, to each its own. You might enjoy listening to the noise of a washing machine and that's of course up to you.
What I don't understand is why being DIFFERENT is used as a synonym to being BETTER?! It's not.
The thought "because it's different is cool, and because it's orchestral is old" is wrong. I get furious when someone scratch what came before, just like that. There is plenty of room in contemporary film for traditional scoring as for innovation.
I've loved the work from Jonny Greenwood so far. His score for There Will Be Blood was extremely effective and wonderful placed in the movie. And I'm just as excited to hear what Yorke brings to Suspiria. Aside from the fact that Radiohead is one of the greatest bands in the last 25 years.
Oh come on! Jonny Greenwood is one of the most striking and original composers around, more schooled in contemporary classical music than most film composers these days.
This, Greenwood is pretty good and talented. There Will Be Blood in particular was very good. I was not surprised to learn that Taymor would have picked Greenwood to score her film if Goldenthal for some reason couldn't.
