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thestat

Turning of the tide (or just the same old crap)?

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This year, as in all others, we have had good orchestral scores by Doyle, Desplat, Young, Giacchino, Williams ... But I do not know, I can not see the tide turning. What I see is that people are thrilled with Giacchino's hiring for the Marvel films and the hiring of Elfman, and probably Giacchino in "The Batman", for DC movies. As the biggest blockbusters tend to serve as a reference for many smaller movies a lot of people see this as a turning point.

 

Conclusion: At the end of the day people are excited about Giacchino. They see him as the composer of the next decade.

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As of yet, i could identify the following scores that - generously speaking - could enter a competition for 2017. There is not one Marvel or DC film on there.

 

A UNITED KINGDOM, Patrick Doyle

BITTER  HARVEST, Benjamin Wallfisch

CELLO, Randy Kerber

THE FOUNDER, Carter Burwell

JANE by Philip Glass

LE SECRET DE LA CHAMBRE NOIRE, Gregoire Hetzel

LOGAN, Marco Beltrami

OSTWIND AUFBRUCH NACH ORA, Annette Focks

Paddington 2, DARIO MARIANELLI

REBEL IN THE RYE, Bear McCready

THE RENDEZVOUS, Austin Wintory

THE SNOWMAN, Marco Beltrami

SUBURBICON, Alexandre Desplat

TULP FEVER, Danny Elfman

VALERIAN AND THE CITY OF A THOUSAND PLANETS, Alexandre Desplat

VICEROY'S HOUSE, A.R. Rahman

WAR FOR THE PLANET OF THE APES, Michael Giacchino

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3 hours ago, publicist said:

As of yet, i could identify the following scores that - generously speaking - could enter a competition for 2017. There is not one Marvel or DC film on there.

 

A UNITED KINGDOM, Patrick Doyle

BITTER  HARVEST, Benjamin Wallfisch

CELLO, Randy Kerber

THE FOUNDER, Carter Burwell

JANE by Philip Glass

LE SECRET DE LA CHAMBRE NOIRE, Gregoire Hetzel

LOGAN, Marco Beltrami

OSTWIND AUFBRUCH NACH ORA, Annette Focks

Paddington 2, DARIO MARIANELLI

REBEL IN THE RYE, Bear McCready

THE RENDEZVOUS, Austin Wintory

THE SNOWMAN, Marco Beltrami

SUBURBICON, Alexandre Desplat

TULP FEVER, Danny Elfman

VALERIAN AND THE CITY OF A THOUSAND PLANETS, Alexandre Desplat

VICEROY'S HOUSE, A.R. Rahman

WAR FOR THE PLANET OF THE APES, Michael Giacchino

 

Although I don't agree with all these choices, I like the fact that you also include non-Hollywood scores. I know I keep harping on about this over and over again, but one of the most bewildering phenomena in film score land that I know of is when people make assertions about a general state of affairs by just looking just at a SMALL fragment of Hollywood blockbusters (mostly superhero or action stuff).

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11 hours ago, Koray Savas said:

Good orchestral scores by Williams? Did I miss something?

 

In a few weeks...

The Paper and The Last Jedi.

At least TLJ promises to be great.

 

5 hours ago, BloodBoal said:

People are thrilled about Marvel hiring Giacchino? What? All we got was an average score and an OK score from him for that studio.

 

I know I know. It's a criminal conclusion, but I've seen a lot of people thinking like that in the last few days. 

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21 hours ago, thestat said:

Blade Runner

I really very much hope you're right!

Watched the new Blade Runner last night and the music was at times unbelievably annoying.

Of course that particular film isn't particularly my cup of tea anyway, but I hope to never hear music like that in a film again.

 

Looking forward to The Last Jedi already! :D

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6 hours ago, BloodBoal said:

You know it wasn't the one I was referring to!

 

Well, I referred to the 7 episodes. I particularly enjoyed of the music written for all the films, even if the 7th entry paled in front of the others. 

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@thestat Was Guardians of the Galaxy 2 a good score? I remembered the song placements more than the score which only has one memorable theme...

 

I don't think the scores for Dunkirk or Blade Runner advanced anything other than an inspired use of sound design. 

 

There are ostinato runs all throughout the score for Justice League, ostinati aren't inherently evil, overused, but still an extremely useful rhythmic technique. 

 

 

 

 

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Yes. Dunkirk is a brilliant entry in the much maligned "sound design" genre.  Would that every composer asked to write such music abided by similar attention to detail and fine crafting of sounds.  It shows the artistic heights possible in that type of music - sadly, I'm not sure anyone is capable of that other than Hans.  

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Adds to the medium?  I don't know, what does any score add to the medium?  This one, like I said, should set a bar for this type of score, though it probably won't.  It's all well and good to complain about the overpresence of such scores - blame creative direction from uncreative people based on flavor of the month models - but let's also not fall into the childish realm of thinking "glorious 90s scores" are the standard against which to measure everything.  No one should want a proliferation of any one type of film score, but rather the diversity appropriate to fit the diversity found in films themselves. 

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23 minutes ago, TheGreyPilgrim said:

Adds to the medium?  I don't know, what does any score add to the medium?  This one, like I said, should set a bar for this type of score, though it probably won't.  It's all well and good to complain about the overpresence of such scores - blame creative direction from uncreative people based on flavor of the month models - but let's also not fall into the childish realm of thinking "glorious 90s scores" are the standard against which to measure everything.  No one should want a proliferation of any one type of film score, but rather the diversity appropriate to fit the diversity found in films themselves. 

 

A surprisingly reasonable argument in this wacky place of ours. That's rare.

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On 11/16/2017 at 6:53 AM, Koray Savas said:

Not logical, but okay. 

 

That poster considers all 7 Star Wars scores to be "great." It's not logical for him to assume that a man who has composed 7 great scores for a series can/will compose another? That's the most logical kind of prediction one can make!

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