People who criticize JW music as over the top, bombastic, larger than life

[Charlie Brigden 7]

You know, it really start to annoy me calling any computerised music or some band stuff being called a 'score'. That's not a score. That's music done by a couple of blokes in their bedrooms.

And no, I don't agree. Both Social Network and Dragon Tattoo are steaming pile of turds.

And what annoys me is that people such as yourself limit the definition of music to orchestral music. That's just insane in the literal sense of the word.

I didn't mate, scoring refers to the craft of multiple instruments composed and orchestrated for various ensamples.

Songs have a melody and a couple of chords and electronic music is put together with an electronic sequencer.

Scoring refers to music composed specifically for a film or production, whether by a full blown orchestra, a pianoman or some guy on a kazoo.

[Salacius 7]

You know, it really start to annoy me calling any computerised music or some band stuff being called a 'score'. That's not a score. That's music done by a couple of blokes in their bedrooms.

And no, I don't agree. Both Social Network and Dragon Tattoo are steaming pile of turds.

And what annoys me is that people such as yourself limit the definition of music to orchestral music. That's just insane in the literal sense of the word.

I didn't mate, scoring refers to the craft of multiple instruments composed and orchestrated for various ensamples.

Songs have a melody and a couple of chords and electronic music is put together with an electronic sequencer.

Scoring refers to music composed specifically for a film or production, whether by a full blown orchestra, a pianoman or some guy on a kazoo.

OK if you say so, can't wait for my next purchase of the great film scoring kazoo extravaganza

[KK 3,307]

You know, it really start to annoy me calling any computerised music or some band stuff being called a 'score'. That's not a score. That's music done by a couple of blokes in their bedrooms.

And no, I don't agree. Both Social Network and Dragon Tattoo are steaming pile of turds.

And what annoys me is that people such as yourself limit the definition of music to orchestral music. That's just insane in the literal sense of the word.

I didn't mate, scoring refers to the craft of multiple instruments composed and orchestrated for various ensamples.

Songs have a melody and a couple of chords and electronic music is put together with an electronic sequencer.

Scoring refers to music composed specifically for a film or production, whether by a full blown orchestra, a pianoman or some guy on a kazoo.

Scoring is reflecting the emotional crescendos of the film and its narrative's complexities through music (which will in turn act as the tool to elevate the film experience). Both the scores for The Social Network and The Girl with the Dragon Tattoo failed to do that.

OK if you say so, can't wait for my next purchase of the great film scoring kazoo extravaganza

Chicken Run anyone

[Thor 7,504]

I couldn't disagree more with your rant, KK, but at least it reflects your own taste and preference and not some sort of objective fact. I love, love, love the fact that you have prominent composers from other areas trying their hands on film music, especially if their music in rock, pop, electronica, whatever have a certain dramatic sensibility to begin with. It's such a crucial and refreshing alternative to the more traditional/conventional composers.

Cool, we agree to disagree then

I understand what you mean. I mean hey, look at where guys like Danny Elfman and Michael Kamen came from! New artists should be welcomed. Its just, if new artists bring something interesting and effective to the table, great. But Reznor failed to do that with me. I mean I personally cannot find anything very dramatic about droning. Also, I feel their film scores don't reflect the films, so I don't really see any merit to their scores at all (either as a stand alone listen or a score in context with the film). But pop artists trying something new = overblown critical praise from film critics.

That's fine. To each their own. To me, these scores add VERY much to the film and its chosen aesthetic, both on an intellectual and emotional level.

Charlie Brigden is right on. It doesn't matter what TYPE of music it is, as long as it's suited to what the filmmaker wants to communiate. BROKEBACK MOUNTAIN is no less of a film score than, say, STAR WARS, just because it's solo guitar vs. fullblown orchestra. The first question you have to ask is - what does the film want to say? How does it say it? How does the music or lack of music reflect that? You can't say 'this score doesn't work because it only uses three instruments' or 'this score doesn't work because it's jazz' or whatever.

[publicist 4,643]

BROKEBACK MOUNTAIN is no less of a film score than, say, STAR WARS, just because it's solo guitar vs. fullblown orchestra. The first question you have to ask is - what does the film want to say? How does it say it? How does the music or lack of music reflect that?

It's still more ambigious; we can assume that Daft Punk or Nine Inch Nails have the musical chops to construct a proper film score - in hope that the decision to score a film like DRAGON TATTOO like it is scored is not just the result of the inability to do it any other way. But the scrolls of listed orchestrators and musical helpers in TRON's case leads me to other conclusions.

Now if the subject and genre of DRAGON TATTOO would not be utterly trite and boring, i would check it out - but i won't. SOCIAL NETWORK, on the othr hand, had some interesting musical solutions (like the tritone suggesting Zuckerberg's inability to relate to his environment) that i will not write it off as easily as others have. But Oscar-worthy? Hmmmm---

[Thor 7,504]

BROKEBACK MOUNTAIN is no less of a film score than, say, STAR WARS, just because it's solo guitar vs. fullblown orchestra. The first question you have to ask is - what does the film want to say? How does it say it? How does the music or lack of music reflect that?

It's still more ambigious; we can assume that Daft Punk or Nine Inch Nails have the musical chops to construct a proper film score - in hope that the decision to score a film like DRAGON TATTOO like it is scored is not just the result of the inability to do it any other way.

What makes you say that? It's scored that way because Fincher wanted a particular sound to suit his particular approach to the film, and Reznor & Ross responded with their interpretation of those guidelines. No other reason. What, did you think Fincher hired them to score it like Korngold's THE SEA HAWK, but not getting that, settling for their industrial/ambient electronica sound?

[publicist 4,643]

What makes you say that? It's scored that way because Fincher wanted a particular sound to suit his particular approach to the film, and Reznor & Ross responded with their interpretation of those guidelines. No other reason. What, did you think Fincher hired them to score it like Korngold's THE SEA HAWK, but not getting that, settling for their industrial/ambient electronica sound?

I think Fincher's musical instincts are suspicious at best and whenever something good comes of it, it may be more of a lucky accident.

[Unlucky Bastard 7,782]

Did Fincher actually work with Elliot Goldenthal on Alien³ or had he walked off the project before scoring began?

[Thor 7,504]

What makes you say that? It's scored that way because Fincher wanted a particular sound to suit his particular approach to the film, and Reznor & Ross responded with their interpretation of those guidelines. No other reason. What, did you think Fincher hired them to score it like Korngold's THE SEA HAWK, but not getting that, settling for their industrial/ambient electronica sound?

I think Fincher's musical instincts are suspicious at best and whenever something good comes of it, it may be more of a lucky accident.

I disagree totally.

David Fincher is one of the most instinctive and DIStinctive directors working out there, and one of the most conscious in terms of style -- visual as well as aural, musical etc. Basically ALL his films have had brilliant scores, perfect for their films (even the Shore ones, although I'm no big Shore fan to begin with).

[Brónach 1,302]

I have to say, the music in Fight Club is unlike what I usually listen to, but I can't imagine the film with different music.

I haven't seen nor heard his last two films, though.

[Unlucky Bastard 7,782]

The score to Fight Club is very good and surprisingly listenable on album, but you'd have to be taking a lot of prozac to be in the mood to listen to Reznor's stuff.

[Thor 7,504]

As expected, I'm pretty much alone here in my appreciation of Reznor & Ross and similar composers. Then again, I've long been a fan of gritty, industrial electronica and metal and also lots of ambient stuff recently - Martinez, Mansell, Eno, Isham etc. I listen to that far more often than I do more busy orchestral music these days, maybe even Williams himself.

[#SnowyVernalSpringsEternal 10,265]

Yes Thor, you are special. We don't have clue, clinging to the old and cliched orchestral ways.

[Thor 7,504]

Yes Thor, you are special. We don't have clue, clinging to the old and cliched orchestral ways.

You said it, not I.

[Brónach 1,302]

The score to Fight Club is very good and surprisingly listenable on album, but you'd have to be taking a lot of prozac to be in the mood to listen to Reznor's stuff.

I have no idea what it sounds like. I've only heard the Mountain King part, which I thought was hilarious because I love that music.

[Unlucky Bastard 7,782]

I think Alan Howarth is everything Reznor wishes he was but isn't. A sound designer with a competent knowledge of musical composition, able to blend the two hats together seamlessley with both melody and ambience, creating an effectively moody atmosphere.

[publicist 4,643]

Then again, I've long been a fan of gritty, industrial electronica and metal and also lots of ambient stuff recently - Martinez, Mansell, Eno, Isham etc. I listen to that far more often than I do more busy orchestral music these days, maybe even Williams himself.

These guys are far from comparable in terms of style, even if i exclude Williams.

As for Fincher, of course he has a specific design for music in films - which is mostly of the current 'make it amorphous' variety. It's not so much music but expensive sound design and you have to search with a magnifying glass for any vital commentary the score makes. Whenever he does impersonal studio films (ALIEN 3, BENJAMIN BUTTON, even PANIC ROOM), the scores come out the best.

[Thor 7,504]

These guys are far from comparable in terms of style, even if i exclude Williams.

The scores I have in mind of those composers (not Williams, of course) are definitely comparable. SOLARIS, MOON, SOCIAL NETWORK, HANNA, FIGHT CLUB, GIRL WITH DRAGON TATOO, TRAFFIC, DRIVE, CONTAGION, THE LOVELY BONES, CRASH, IN THE VALLEY OF ELAH etc. I absolutely LOVE that stuff these days (ambient, beautiful soundscapes -- sometimes gritty, sometimes beatbased, sometimes not), and am very thankful we have composers (both film music specialists and 'import' artists) who can deliver solid, dramatic, soundscapes for film.

As for Fincher, of course he has a specific design for music in films - which is mostly of the current 'make it amorphous' variety. It's not so much music but expensive sound design and you have to search with a magnifying glass for any vital commentary the score makes. Whenever he does impersonal studio films (ALIEN 3, BENJAMIN BUTTON, even PANIC ROOM), the scores come out the best.

Again, I disagree. The scores are VITAL in ALL of his films. But it would probably be more fruitful if we discussed the specific scores individually and how they work in the context of the film. But of course, we're WAY off-topic now.

[publicist 4,643]

Again, I disagree. The scores are VITAL in ALL of his films. But it would probably be more fruitful if we discussed the specific scores individually and how they work in the context of the film. But of course, we're WAY off-topic now.

Well, SOCIAL NETWORK had a score with an interesting concept. Not good music, but that's beside the point if you buy Fincher's aseptic apporach. What Reznor tried was to develop a very sparse, crippled tune for Zuckerberg, portraying his inability to relate to others (loneliness) - HAND COVERS BRUISE introduces this motif and interestingly is repeated at the conclusion, further proof that for all his runaway success he still was an outsider, hardly loved by anyone else than underlings and money people. It's a pessimistic denouement - Fincher basically relates Zuckerberg's success to an ongoing process of damaged real-life relations between people as result of the aloofness and convenience of online communication, it seems right that a loser like him invents a communication tool as ineffective as himself.

Still, it hardly amounts to more than a good concept and a great composer might have made good MUSIC out of it. As for Fincher in general, i somehow think it's not worth to discuss this at any greater length as i know your supreme inability to go beyond those simplistic little mantras you have erected like pillars of stone.

[Thor 7,504]

Again, I disagree. The scores are VITAL in ALL of his films. But it would probably be more fruitful if we discussed the specific scores individually and how they work in the context of the film. But of course, we're WAY off-topic now.

Well, SOCIAL NETWORK had a score with an interesting concept. Not good music, but that's beside the point if you buy Fincher's aseptic apporach. What Reznor tried was to develop a very sparse, crippled tune for Zuckerberg, portraying his inability to relate to others (loneliness) - HAND COVERS BRUISE introduces this motif and interestingly is repeated at the conclusion, further proof that for all his runaway success he still was an outsider, hardly loved by anyone else than underlings and money people. It's a pessimistic denouement - Fincher basically relates Zuckerberg's success to an ongoing process of damaged real-life relations between people as result of the aloofness and convenience of online communication, it seems right that a loser like him invents a communication tool as ineffective as himself.

Good thoughts. I see it a bit differently, though. I think one of the best aspects of that score is how you have those heavy basslines (as in the centerpiece track "Intriguing Possibillities") counterpointed by a very cautious piano melody on top. It's as if the bassline and the synths connote the technological, progressive aspects of the story while the piano adds the human, more insecure element.

It's also superbly spotted. This is an extremely dialogue-heavy film, so the score can't get in the way. Love the way it is either absent for many scenes or just discretely following the ebb and flow of the dialogue. This is also why the Grieg/rowing sequence is so effective, because it comes in as a much-needed respite inbetween all the talking, letting only music and visuals propel things.