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Not just today's music. All of it. It's nothing more than second rate late Romantic and 20 century post romantic rip offs. And all of these hacks do it. Williams and Horner rape Prokofiev's cold dead corpse regularly. Goldsmith screwed Stravinsky's cadaver on several occasions. Korngold with Strauss and Mahler. Herrmann with Bartok and Ives. Don Davis pillaged John Adams' entire 80s catalogue of works for The Matrix. No concert composer was left out. Even the weird ones like Varese, Xenakis (Goldenthal cum Corigliano), Webern, Berg, Debussy, Ravel, and the list goes on.
Honestly guys and gals, its all smoke and mirrors and hack work patchwork. Don't pretend you are on a higher plain of listening taste because you listen to film music. It's the equivalent to pop music in the orchestral world.
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Have you been drinking again, David? 
Nope but I should star eh?my friend Erik Woods doesn't live too far away and has a wonderful beer collection. Erik, can I come over?
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This is an odd site for you to be on then!
Really? I thought I was in good company since most posts lately are bitching about this score and that score. Even classic Goldsmith scores aren't safe.
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This is an odd site for you to be on then!
Really? I thought I was in good company since most posts lately are bitching about this score and that score. Even classic Goldsmith scores aren't safe.
Ah, okay, not me, - i dish out a few hits here and there, not on the masters though. Perhaps you should pop in a good happy film score, like Hook or ET, and we can send you a group hug.
Thanks! Obviously my posts were sarcastic (well mostly). I just find it odd how the tenor of this forum has changed to that of a whiny tone. And to be perfectly honest, a good deal of these "assertions" are authored by people who don't know much about film scoring or music at all, yet they purport what composer A shou,d have done or what director B didn't do right. It's rather silly don't you think?
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Oh, thank heavens that your posts were sarcastic.
For a moment there you reminded me someone in jwfan, who although he was a John Williams fan he suddenly denounced him and all of film music. And it was like another person talking.
Anyway..
David, I don't mind any negative comments if they are constructive and are based on something.
Not all film compositions are masterpieces, as not all film compositions are bad.
I agree though that film music for academic music scholars is something to be looked down upon.
Thank heavens I'm not one of those..
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Posted: |
Jun 25, 2013 - 3:47 PM
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By: |
Ado
(Member)
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This is an odd site for you to be on then!
Really? I thought I was in good company since most posts lately are bitching about this score and that score. Even classic Goldsmith scores aren't safe.
Ah, okay, not me, - i dish out a few hits here and there, not on the masters though. Perhaps you should pop in a good happy film score, like Hook or ET, and we can send you a group hug.
Thanks! Obviously my posts were sarcastic (well mostly). I just find it odd how the tenor of this forum has changed to that of a whiny tone. And to be perfectly honest, a good deal of these "assertions" are authored by people who don't know much about film scoring or music at all, yet they purport what composer A shou,d have done or what director B didn't do right. It's rather silly don't you think?
Yeah, I agree David.
I was out of range of any technology for last week and I think it made me feel happier. No emails, no boards, nothing. There might be too much wishful thinking and double guessing going on here on this board.
For myself, I pretty much gave up like the Zimmer bashing stuff, yes I still do not like his stuff, but it is pretty much a waste of time doing the dogpile on these Zimmer and types anymore.
Perhaps we could turn the board back toward more positive.
Chin up David
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Not just today's music. All of it. It's nothing more than second rate late Romantic and 20 century post romantic rip offs. And all of these hacks do it. Williams and Horner rape Prokofiev's cold dead corpse regularly. Goldsmith screwed Stravinsky's cadaver on several occasions. Korngold with Strauss and Mahler. Herrmann with Bartok and Ives. Don Davis pillaged John Adams' entire 80s catalogue of works for The Matrix. No concert composer was left out. Even the weird ones like Varese, Xenakis (Goldenthal cum Corigliano), Webern, Berg, Debussy, Ravel, and the list goes on.
Honestly guys and gals, its all smoke and mirrors and hack work patchwork. Don't pretend you are on a higher plain of listening taste because you listen to film music. It's the equivalent to pop music in the orchestral world.
Bitter, Party of one...
Wow, somebody got up on the wrong side of the bed.
Ford A. Thaxton
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I thought this was simply your parting shot, Mr. C, inasmuch as your profile concludes with the words, "Adieu, FSM. It's been real." But, apparently not?
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Posted: |
Jun 25, 2013 - 4:31 PM
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By: |
Regie
(Member)
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This is an odd site for you to be on then!
Really? I thought I was in good company since most posts lately are bitching about this score and that score. Even classic Goldsmith scores aren't safe.
Ah, okay, not me, - i dish out a few hits here and there, not on the masters though. Perhaps you should pop in a good happy film score, like Hook or ET, and we can send you a group hug.
Thanks! Obviously my posts were sarcastic (well mostly). I just find it odd how the tenor of this forum has changed to that of a whiny tone. And to be perfectly honest, a good deal of these "assertions" are authored by people who don't know much about film scoring or music at all, yet they purport what composer A shou,d have done or what director B didn't do right. It's rather silly don't you think?
This is "attention seeking 101" and I've seen it all before thousands of times on message-boards. Notice the over-use of the first person pronoun!!
It obviously takes a finely chiseled intellectual perceptiveness to be able to identify and understand very good music. I'm sorry that you don't seem to have it, sir. Sorry for us, that is (note: collective first person pronoun).
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Oh, thank heavens that your posts were sarcastic.
For a moment there you reminded me someone in jwfan, who although he was a John Williams fan he suddenly denounced him and all of film music. And it was like another person talking.
Anyway..
David, I don't mind any negative comments if they are constructive and are based on something.
Not all film compositions are masterpieces, as not all film compositions are bad.
I agree though that film music for academic music scholars is something to be looked down upon.
Thank heavens I'm not one of those..
I have actually gotten back into film scores of late. For a while I didn't listen to much soundtracks as even classic ones I loved seemed to have lost their luster. I spent a lot of time discovering the various periods of work by Stravinsky and Shostakovich. On a pure music level it's hard to beat them though Williams, Goldsmith, Yared, Goldenthal etc etc got pretty close. Interestingly even during my self exile from soundtrack listening I always maintained an affection for Herrmann's works though more his concert works like Moby Dick and The Fantastiks. I also loved Corigliano's Music from the Edge.
To be honest though, it makes me laugh a little when people belittle Zimmer or Dwajadi when they have little to no musical vernacular with which to make these barbs- it's usually the same tired old adjectives. People here hate it when classical snobs make the assertions that I posted above yet they are hypocrites when they diss a composer's music or even the person themselves without really understanding the industry or the mechanics involved.
Look, would I have been ecstatic if Don Davis or Bruce Broughton had scored Man of Steel? Hell yes. A Gabriel Yared score would have been amazing I'm sure. Or would I have delighted with a Goldenthal Pacific Rim? You betcha! But I find it silly to get so wound up about the "what ifs" and enjoy what I have presented to me. Some MOS tracks I skip because they aren't to my taste. I'm sure when I buy Pacific Rim I will do the same.
I've had a change of heart about some composers who I used to disdain like Brian Tyler. I like his groove based scores a lot and his melodic style is growing on me. Conversely I still cannot get into current Giacchino but love his pre 2006 work immensely.
I hope this explains a bit.
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Posted: |
Jun 25, 2013 - 5:38 PM
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By: |
JohnnyG
(Member)
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Oh, thank heavens that your posts were sarcastic.
For a moment there you reminded me someone in jwfan, who although he was a John Williams fan he suddenly denounced him and all of film music. And it was like another person talking.
Anyway..
David, I don't mind any negative comments if they are constructive and are based on something.
Not all film compositions are masterpieces, as not all film compositions are bad.
I agree though that film music for academic music scholars is something to be looked down upon.
Thank heavens I'm not one of those..
I have actually gotten back into film scores of late. For a while I didn't listen to much soundtracks as even classic ones I loved seemed to have lost their luster. I spent a lot of time discovering the various periods of work by Stravinsky and Shostakovich. On a pure music level it's hard to beat them though Williams, Goldsmith, Yared, Goldenthal etc etc got pretty close. Interestingly even during my self exile from soundtrack listening I always maintained an affection for Herrmann's works though more his concert works like Moby Dick and The Fantastiks. I also loved Corigliano's Music from the Edge.
To be honest though, it makes me laugh a little when people belittle Zimmer or Dwajadi when they have little to no musical vernacular with which to make these barbs- it's usually the same tired old adjectives. People here hate it when classical snobs make the assertions that I posted above yet they are hypocrites when they diss a composer's music or even the person themselves without really understanding the industry or the mechanics involved.
Look, would I have been ecstatic if Don Davis or Bruce Broughton had scored Man of Steel? Hell yes. A Gabriel Yared score would have been amazing I'm sure. Or would I have delighted with a Goldenthal Pacific Rim? You betcha! But I find it silly to get so wound up about the "what ifs" and enjoy what I have presented to me. Some MOS tracks I skip because they aren't to my taste. I'm sure when I buy Pacific Rim I will do the same.
I've had a change of heart about some composers who I used to disdain like Brian Tyler. I like his groove based scores a lot and his melodic style is growing on me. Conversely I still cannot get into current Giacchino but love his pre 2006 work immensely.
I hope this explains a bit.
I can enjoy what's been presented to me if it's enjoyable. If it's not, I can't enjoy it. Zimmer's MoS doesn't bring me joy. Period. I'm not gonna lament the lost opportunity forever but I can't find anything interesting here and I'm moving on.
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Oh, thank heavens that your posts were sarcastic.
For a moment there you reminded me someone in jwfan, who although he was a John Williams fan he suddenly denounced him and all of film music. And it was like another person talking.
Anyway..
David, I don't mind any negative comments if they are constructive and are based on something.
Not all film compositions are masterpieces, as not all film compositions are bad.
I agree though that film music for academic music scholars is something to be looked down upon.
Thank heavens I'm not one of those..
I have actually gotten back into film scores of late. For a while I didn't listen to much soundtracks as even classic ones I loved seemed to have lost their luster. I spent a lot of time discovering the various periods of work by Stravinsky and Shostakovich. On a pure music level it's hard to beat them though Williams, Goldsmith, Yared, Goldenthal etc etc got pretty close. Interestingly even during my self exile from soundtrack listening I always maintained an affection for Herrmann's works though more his concert works like Moby Dick and The Fantastiks. I also loved Corigliano's Music from the Edge.
To be honest though, it makes me laugh a little when people belittle Zimmer or Dwajadi when they have little to no musical vernacular with which to make these barbs- it's usually the same tired old adjectives. People here hate it when classical snobs make the assertions that I posted above yet they are hypocrites when they diss a composer's music or even the person themselves without really understanding the industry or the mechanics involved.
Look, would I have been ecstatic if Don Davis or Bruce Broughton had scored Man of Steel? Hell yes. A Gabriel Yared score would have been amazing I'm sure. Or would I have delighted with a Goldenthal Pacific Rim? You betcha! But I find it silly to get so wound up about the "what ifs" and enjoy what I have presented to me. Some MOS tracks I skip because they aren't to my taste. I'm sure when I buy Pacific Rim I will do the same.
I've had a change of heart about some composers who I used to disdain like Brian Tyler. I like his groove based scores a lot and his melodic style is growing on me. Conversely I still cannot get into current Giacchino but love his pre 2006 work immensely.
I hope this explains a bit.
I can enjoy what's been presented to me if it's enjoyable. If it's not, I can't enjoy it. Zimmer's MoS doesn't bring me joy. Period. I'm not gonna lament the lost opportunity forever but I can't find anything interesting here and I'm moving on.
Fair enough.
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