When watching Supercell, it’s good to go into it knowing it’s not Twister. Not every movie about tornados and/or storm chasing has a $200 million dollar budget. Know that going in and you’ll do fine.
Right, it sounded like they wanted John Williams but couldn't afford him.
He'll never get a job scoring new MISSION IMPOSSIBLE films* writing music like that!!
What's he thinking!!
*Or ANY current Hollywood films, for that matter. (I'm guessing Corey is a BIG John Williams fan). Kudos for trying to swim AGAINST the tide though.
It's always the film and the project that calls for the musical style, and not viceversa. There are several composers out there (including some of the above mentioned) that hold the Williams/Horner style of ear-candy symphonic scoring in high regard and are absolutely able to deliver purely acoustic big orchestral scores with sophisticated writing. The point is that this kind of writing is not requested anymore in big or even medium-sized Hollywood studio productions, unless there is a clear brief of "going retro" and evoke a certain atmosphere from the past, like in this specific case. What was the norm back in the day is now seen as a mere nostalgia factor. Hollywood has changed dramatically over the last 10-15 years and music applied to films has always been very sensitive toward what is "en vogue" at the moment. I know that there still is fine orchestral music written for films today, but, again, this style of movie music is essentially a relic of the past that sometimes is revived to strike a chord into the generation who grew up with movies of the late 1970s and early '80s.
