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 Posted:   Dec 12, 2023 - 3:29 AM   
 By:   Nicolai P. Zwar   (Member)

No doubt Rozsa, Newman and Goldsmith are legends, but to say that composers these days don't have the same technical richness is ridiculous. Today we have... oh, I don't know... like you, I'll pick three... Wilis, Korzenowski, and Beltrami.


Most composers working in Hollywood today certainly don't have the same technical richness as before, but I don't suppose I will ever convince you.


I would say that I agree with Erik here. There is no reason to believe that today's composers are technically less proficient than earlier generation composers. Certainly, styles and film music demands have changed, but I see no reason why today's top level composers should be less skilled than earlier generations of film composers.

 Posted:   Dec 12, 2023 - 3:44 AM   
 By:   Nicolai P. Zwar   (Member)

I mostly listen on a standalone basis. Listening music is more important way for me to spend my spare time than seeing the films. However, if I have a chance to watch a film, I pay attention how picture and sound connect: how music fits the context of the film, how it serves different scenes used in the film and how it conveys emotions. Those things came first to my mind.

I totally second this. I do like movies, but film music first. It just appears that most of the music I like...has been written for films or TV shows. But I have hundreds of soundtracks from movies I never saw and probably will never watch for various reasons, time consuming it represents being the main one.

I have always been interested in music, and always been interested in music... so I noticed the music in movies very early on. I do appreciate film music in context, very much so. In fact, whenever there is music playing in a movie with dialog or sound effects, it is the music my ears are drawn to. I have always noticed film music, even when watching cartoons as a kid.
That said, when I listen to film music, it is not so much to "relive" the movie... obviously, in most cases, I could just watch the movie if I wanted to relive the movie. That does not mean the music is completely disconnected from the movie, though sometimes it is. It depends on the movie and the music. I mean, Wagner's PARSIFAL is always connected with the themes and ideas of PARSIFAL, even if you are just listening to orchestral excerpts and not the entire opera. In the same way, the scores for Williams' STAR WARS, HARRY POTTER or Shore's MIDDLE EARTH scores are connected to the ideas and concepts of their inspirations. They are leitmotivic, and obviously, leitmotivic music is always connected to extra musical ideas, stories, concepts... that is the point. But I can easily enjoy film scores without having seen the movie. One of my favorite Rózsa scores is THE RED HOUSE; I've never seen the movie. Plus, of course, not all film scores are leitmotivic or even classical. Take a score like Lalo Schifrin's BULLET, that's mostly cool jazzy music, without a musical concept that connects the music to specific ideas or concepts within the movie.

But it is comparatively rare today that I see a movie (with a composer I don't or barely know) and then want to seek out more music by this composer. (I am more "composer" than "movie" oriented when I seek out what to listen for.)

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