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Posted: |
Jan 3, 2010 - 1:57 PM
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By: |
moviescore
(Member)
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Yes, , Thor, no doubt about it: "The Rock" is probably the most influential score, at least in terms of mainstream movie music.
If we're going back all the way to 1980, though, I think that it's impossible not to mention John Williams' Raiders of the Lost Ark, E.T., and Schindler's List, and Jerry Goldsmith's Poltergeist and First Blood. Perhaps also Altered States by Corigliano. Which leads to Goldenthal and Alien 3 and Interview with the Vampire.
And let's not forget Out of Africa and Dances With Wolves by Barry.
Perhaps JNH's The Fugitive. An outsider could very well be Elia Cmiral's Ronin, he sorta brought the duduk to Hollywood with that score.
mc
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Goldsmith did that years earlier with The Russia House.
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Santaolalla's BROKEBACK MOUNTAIN for the whole lo-fi, acoustic, minimal-instrument approach in dramas.
I haven't seen any indication that another film took this on because BROKEBACK MOUNTAIN did it. Quiet guitar scores (or other 1-2 instrument scores with minimal development) have been round since forever (see Mark Knopfler, who never had the advantage of having Ang Lee's editor spot his themes to an edit), and if anyone made it fashionable to be the small voice in a big art film, it was Thomas Newman.
Some that I think have been fairly influential in recent years:
- BLACK HAWK DOWN - Clearly a temp track that BATTLESTAR GALACTICA's editors went back to more than once. There have been other feature film influences too (to some extent SYRIANA, although I think Desplat went a lot further), but they're not coming immediately to mind.
- TRAFFIC - Minimal electronic score from Cliff Martinez... it comes from Eno to an extent, but it's where it ended up that matters - NARC being one. A recent film at Sydney Film School (where I teach) used this score as a reference for a composer to come up with a similar-toned effort.
- PRIDE AND PREJUDICE - Dario Marianelli's flowing piano-led romantic orchestral score is clearly the template that has been applied to BECOMING JANE, THE OTHER BOLEYN GIRL, and BRIDESHEAD REVISITED.
- THE INSIDER - The use of Santaolalla's Ronrocco for a different sort of tension has filtered through to so many different things - from 24 and Sally Potter's YES to BABEL and NORTH COUNTRY (Santaolalla-scored in a similar manner). Even the appearance of Lisa Gerrard in GLADIATOR (and so many other post-2000 films) owes a great deal to her presence in this Michael Mann film. (Now if only it had kicked off a Jan Garbarek fetish in temp tracking too!)
- John Powell's BOURNE riff. Variants on this have popped up in so many films.
Edit... Oh, and George Fenton romantic comedy scoring.
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The Hearse
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Children,Children,Children.....
It's perhaps time someone who has a bit more of a historical view offer a more detailed view at this time
These are some of the most Influential scores of the last thirty years
ALTERED STATES
CHARRIOTS OF FIRE
AIRPLANE
BLUE THUNDER
THE ACCIDENTAL TOURIST
WITNESS
PRESUMED INNOCENT
BLACK RAIN
SEX,LIES AND VIDEOTAPE
UNDER FIRE
RAIN MAN
AS GOOD AS IT GETS
THE ROCK
LETHAL WEAPON
GHOSTBUSTERS
BODY HEAT
AMERICAN BEAUTY
BEVERLY HILLS COP
TITANIC
All of the above mentioned scores had a MAJOR IMPACT on how films were score and how you approached scoring them.
Also, these are the scores that directors and produced just loved and wanted to have their composers copy.
Ford A. Thaxton
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Children,Children,Children.....
Father, you are so wise.
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Posted: |
Jan 3, 2010 - 4:12 PM
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By: |
Thor
(Member)
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I haven't seen any indication that another film took this on because BROKEBACK MOUNTAIN did it. Quiet guitar scores (or other 1-2 instrument scores with minimal development) have been round since forever (see Mark Knopfler, who never had the advantage of having Ang Lee's editor spot his themes to an edit), and if anyone made it fashionable to be the small voice in a big art film, it was Thomas Newman.
I wasn't so much talking guitar scores in particular, but the reliance on textures and few instruments in general, even electronic. I don't know, I see this stuff in things like THE ROAD, CRASH, THE HANGOVER, THE KINGDOM, TAKING WOODSTOCK, BABEL. It's been around for a while, but it seemed like BROKEBACK made it THE legitimate and sought-after drama approach when it won the Oscar and became such an iconic score.
Clint Mansell's REQUIEM FOR A DREAM is another influential score in the category you label "minimal electronic score". I think more-so than TRAFFIC.
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It was THE INSIDER that made Santaolalla popular, and MOTORCYCLE DIARIES cemented it. BABEL even uses the piece from THE INSIDER (soooo many editors who saw that put its soundtrack in as temp music), and the director had made films with Santaolalla's guitar emphasis prior to BROKEBACK. It's spurious correlation to say BROKEBACK was the cause of that. It's THE INSIDER if it was anything - which we forget was one of the major Oscar contenders of its year. Brazillian guitar in a thriller aesthetic for a whistle blower story... brilliant move. And it started appearing everywhere else soon after.
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Clint Mansell's REQUIEM FOR A DREAM is another influential score in the category you label "minimal electronic score". I think more-so than TRAFFIC.
I see it in temp tracks quite often, and mostly because of the sort of film TRAFFIC was. People like to take a piece of that aesthetic into their own film.
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