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Once I hear a score I like, I’m more likely to want to listen to others by the same composer.
I loved Desplat’s THE GIRL WITH THE PEARL EARRING, and bought a lot of others. But then his music just seemed to have slackened. Probably the last one I bought was THE SHAPE OF WATER, but haven’t listened to it much.
Like the poster above, I love Yared’s rejected score for TROY, but nothing else since then has appealed as much.
I loved Rachel Portman’s scores at one point, but they also seemed to have drifted into mood pieces.
Likewise, JNH’s output has gone in the same direction. (I have A HIDDEN LIFE, but haven’t heard it yet. Looking forward.)
And, lastly, Williams’ recent work just sounds tired, especially the last two STAR WARS editions, where the best themes were recycled from previous efforts.
I still like Giacchino, but not everything he puts out. And I also get a lot of Newman, even though his scores all seem to be parts of a generic, unsurprising whole.
On the other hand, I haven’t seen many movies in theaters lately; so I’m not cognizant of whatever music is in them. Most seem to be just sound walls.
Like Zimmer, whose output became mostly forgettable.
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Posted: |
Mar 24, 2020 - 6:36 PM
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By: |
peterproud
(Member)
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Exactly Thor.
When I was a teenager I couldnt get warm with GoldsmithsTHE LAST RUN ...now I love it.
Same with BLUE THUNDER..now I think its quite a good score.
This is the fascinating thing about music. I read earlier in this thread that someone couldn't get into the last 20 years of Goldsmith's output. As they were released I was quite indifferent to those scores, and I really felt Goldsmith was not writing his best music during these years.
Many years later I have not only reconsidered these scores, but find many to be the scores I enjoy listening to more than his earlier works. THE EDGE, SLEEPING WITH THE ENEMY, THE VANISHING...even THE SHADOW, which I felt was a lazy score that borrowed from Elfman's Batman too much when I saw it in the theatre, has become a real favourite of mine.
Goldsmith will always be recognized for his deserved classics (POLTERGEIST, PATTON, STTMP, etc) but these later scores are still the work of a great composer and will be rediscovered and enjoyed for years....he was just that good.
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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.
That was around the time an article titled "Premature Plaudits" appeared in Soundtrack Magazine? Just about the same here.
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Posted: |
Jul 15, 2020 - 10:55 AM
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By: |
Bandolero!
(Member)
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I still enjoy all the greats I grew up with (and found later) (Goldsmith, Williams, Bernstein, North Waxman, Newman, Herrmann, Korngold, etc).
In the last 10-15 years, I kind of grew out of Horner and Elfman. Who would have thought that a Horner SPIDER-MAN score would leave me cold? I lost interest in Zimmer in the early 90's. I give him chances, but... nothing.
The newer breed of composers just don't grab my attention like the old guys did. I try their albums, and they're fine, but I don't go back for repeated listens, or new for material.
Like Stravinksy, there's only so much new Herrmann and Goldsmith being released, I can only have so many copies of RITE OF SPRING or RAMBO.
My attention for new (to me) material has gone toward Charlie Parker, John Coltrane, and Thelonious Monk.
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I burnt out on Williams and Zimmer some time ago. I prefer their earlier works. I get the impression that after a composer produces a zillion works, it becomes more difficult to produce something unique/original.
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Posted: |
Jul 15, 2020 - 2:51 PM
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By: |
mgh
(Member)
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I still enjoy all the greats I grew up with (and found later) (Goldsmith, Williams, Bernstein, North Waxman, Newman, Herrmann, Korngold, etc).
In the last 10-15 years, I kind of grew out of Horner and Elfman. Who would have thought that a Horner SPIDER-MAN score would leave me cold?
The newer breed of composers just don't grab my attention like the old guys did. I try their albums, and they're fine, but I don't go back for repeated listens, or new for material.
Like Stravinksy, there's only so much new Herrmann and Goldsmith being released, I can only have so many copies of RITE OF SPRING or RAMBO.
My attention for new (to me) material has gone toward Charlie Parker, John Coltrane, and Thelonious Monk.
You might want to put Miles Davis in there. Kind of Blue is one of the great albums of anything anywhere.
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Posted: |
Jul 16, 2020 - 6:16 AM
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By: |
Bandolero!
(Member)
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I was already familiar with Miles Davis. But yeah, certainly a musician to be familiar with 
I still enjoy all the greats I grew up with (and found later) (Goldsmith, Williams, Bernstein, North Waxman, Newman, Herrmann, Korngold, etc).
In the last 10-15 years, I kind of grew out of Horner and Elfman. Who would have thought that a Horner SPIDER-MAN score would leave me cold?
The newer breed of composers just don't grab my attention like the old guys did. I try their albums, and they're fine, but I don't go back for repeated listens, or new for material.
Like Stravinksy, there's only so much new Herrmann and Goldsmith being released, I can only have so many copies of RITE OF SPRING or RAMBO.
My attention for new (to me) material has gone toward Charlie Parker, John Coltrane, and Thelonious Monk.
You might want to put Miles Davis in there. Kind of Blue is one of the great albums of anything anywhere.
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