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Posted: |
Mar 11, 2020 - 1:38 PM
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By: |
Tom Servo
(Member)
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JNH had fallen off my radar in recent years, but thanks to the recent expanded editions of his 90's scores I've started listening to his music again and remembering how great so much of it is. However, I rarely listen to Horner or Elfman anymore, if I'm considering composers that had once been in regular rotation for me. Not sure why, I don't seem to connect or be in the mood for their music very often. I'm still heavy into all Goldsmith, Williams, Barry, Herrmann and Elmer Bernstein, along with so much classic TV music (LIS, Trek, UNCLE, Mission Impossible, BSG 78).
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Y'all are being way too logical, giving valid reasons and supporting data.
After Horner's first few years--and I really liked (note the tense) those early scores up to maybe 48 Hours, Brainstorm, and Something Wicked I just dropped him, lost all interest, and even developed a negative reaction to the mention of his name. Have not had any use for his music ever since.
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Posted: |
Mar 11, 2020 - 4:12 PM
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By: |
Thor
(Member)
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In terms of Elfman, I've completely lost interest in any of the big blockbuster-type things he does. Bombastic, whimsical stuff that is in one ear and out the other. However, he has managed to sustain interest in the last couple of decades through his indie scores. THAT is where his continued strength lies; i.e. everything he has done post-Serenada Schizophrana and that has been somewhat inspired by that -- THE CIRCLE, THE END OF THE TOUR, THE UNKNOWN KNOWN, PROMISED LAND, RESTLESS, STANDARD OPERATING PROCEDURE...that kind of stuff. Love it!
Which is why I jawn loudly whenever a big Hollywood blockbuster is announced as the next project, but cheer excitedly whenever he's doing a smaller movie of some sort.
In other words, kinda divided.
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In terms of Elfman, I've completely lost interest in any of the big blockbuster-type things he does. Bombastic, whimsical stuff that is in one ear and out the other. However, he has managed to sustain interest in the last couple of decades through his indie scores. THAT is where his continued strength lies; i.e. everything he has done post-Serenada Schizophrana and that has been somewhat inspired by that -- THE CIRCLE, THE END OF THE TOUR, THE UNKNOWN KNOWN, PROMISED LAND, RESTLESS...that kind of stuff. Love it!
Which is why I jawn loudly whenever a big Hollywood blockbuster is announced as the next project, but cheer excitedly whenever he's doing a smaller movie of some sort.
In other words, kinda divided.
Yes, more or less.
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Elfman and Giacchino definitely on my list.
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Posted: |
Mar 11, 2020 - 8:14 PM
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By: |
SBD
(Member)
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Disney, why do you insist on releasing Bruns scores and nothing else from your vintage catalog?
Speak for yourself. If I could get a deluxe edition of The Sword in the Stone for a significantly lower price than my immortal soul, I'd be a happy man.
As to the thread at hand, I want to second the mention of Hans Zimmer. Some superb scores in his career, mainly in the early 90s (Shirley Walker was the best thing that ever happened to him), but the last decade (animated scores aside) have seen...well, it's hard to describe, but it sure as shit ain't music. Dunkirk was the 'you and me are done professionally' breaking point.
Can't quite agree with Thomas Newman, though. Nothing against JAC Redford, but ever since Tom Pasatieri retired as orchestrator, Newman's scores - albeit professional - have lacked the eye of the tiger, if you will. I did enjoy Tolkien, though; the Newmaniest Newman score that ever Newmaned.
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have you fallen out of love with even your favorite composers´ work?
Yeah, I've fallen out of love with lots of composers. None of these have been actual long-term favorites of mine, but I had, at various time periods, accumulated significant amounts of albums of their music.
Richard Band
John Barry
Bernard Herrmann
Michael Kamen
Michael J. Lewis
Jerome Moross
David Newman
Basil Poledouris
Miklos Rozsa
John Williams
I might play one Williams soundtrack during any given month, but one Herrmann or one Rozsa satiates me for about half a year. I'm rarely in a mood to hear a John Barry score (perhaps only a once-per-year listen). It's been multiple years since I've played anything by Moross.
I still like Elmer Bernstein overall, but I tend to gravitate around the same dozen titles for repeated listening out of the 75+ Elmer B discs that I own.
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Posted: |
Mar 12, 2020 - 4:43 AM
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By: |
Graham Watt
(Member)
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There seems to be two different strands to this thread -
1) Living composers still composing, whose more recent works we don't enjoy much.
2) Decomposing dead composers whose music we used to enjoy a lot, but not so much nowadays.
The second strand is the more interesting one for me, because the first question is probably more to do with general changes in (largely Hollywood) approaches to scoring. As for the second strand, I share some of Zardoz's feelings. John Barry used to be in my Top 5, but nowadays I rarely listen to his scores, except for his more spiky '60s and '70s work. SOMEWHERE IN TIME used to be one of my favourites, but now it makes me feel like I'm drowning in soup. Same for his similar scores from the '80s and '90s. Bernard Herrmann was one who was like a gateway to film music for me in the '70s, with the Phase 4 (?) LPs. I played them to death. I still go back to those, but I find his full scores in general unappealing to the ear, and too long even at 30 mins. But that's for another thread.
The one that I've really "fallen out of love" with is Elmer Bernstein, and I don't know why. I still love stuff like SUMMER AND SMOKE, but I rarely want to listen to ANY Elmer Bernstein nowadays, be it his westerns, his thrillers, or his Ondes Martenot horrors. I just find him clunky now.
Looking back, I realise that I've really gone off a lot of the stuff written from the '80s on. The big orchestral scores written in the wake of STAR WARS etc have become largely insufferable for me. I remember in the '90s seeing CLIFFHANGER in the cinema and going right into the CD store the next day to buy the Trevor Jones score. Haven't played it in more than a decade. I can barely even watch these FILMS now.
I feel that all this may show that I have some kind of psychological problem, manifesting itelf in a rejection of things I used to love and now have the need to hate. Where's Dr McCrumble?
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