Jump to content

Can we expect a 2nd Symphonic Film Music Renaissance?


filmmusic

Recommended Posts

I think the problem lies in the distinction between well written music and alternate genres to symphonic scoring. To my mind, things like Tangerine Dream's Thief, or Elliot Goldenthal's HEAT or Dave Grusin's Fabulous Baker Boys are examples of atypical or alternatives to traditional symphonic scoring that worked. And that's just a couple. I think Mark Isham's Point Break isn't strictly symphonic (more like mid ensemble with electronics) also works very well. It's a matter of whether the author of whatever score is deftly applying the music to narrative. There are so many marginal scores that are that not because they aren't traditionally symphonic but because they just do nothing to add anything to the film. That's the criteria I use when assessing a score. Does it work with the film? Does it adhere in of itself to an architecture that matches or compliments the narrative arc of the movie? Does it provide atmosphere at least for a world the characters inhabit?

I would rather hear a Hans Zimmer electronic score than an orchestral one to be honest. He's much more confident and adept at that medium. I say this for like, 70% of composers working in the industry today because it's clear that only 30% of them know how to write for a symphonic orchestra. The rest fumble about and make it sound bad, or boring.

But it's not just about the colors of the palatte that are being used. It's mostly the execution IMO. A lot of what I hear is just wallpaper. From all evidence, it would appear as though these chaps don't know how to plan a score and shape it over-all. IT seems very arbitrary and random, almost disconnected with the film. IN some cases, this is serviceable but I have to believe the constant lamentation over the quality of scores these days is in large part due to this factor. There's nothing to grab onto and not just for us score nuts. It impacts the film very much so without all of the components working at full capacity.

Anyhow that's the way I see it. And for the record I don't think we're going to see symphonic scores return in the same manner. Even concert music is largely wanting these days. I attended a concert last weekend that featured John Adams' City Noir and Mason Bates' Liquid Interface and while both had some nice moments, they didn't hang together very well as a whole. The weekend before, I attended Stravinsky's Rite of Spring performance and for a 100 year old piece, it still kicked the shit out of the Adams and Bates pieces.

'nuff said.

Link to comment
Share on other sites

  • Replies 115
  • Created
  • Last Reply

Top Posters In This Topic

Like Celine bloody Dion, she has good technical ability, but has the soul of a squashed ant.

bowdown

I only accept female groupies. Sorry mate.

bowdown bowdown

ROTFLMAO

Link to comment
Share on other sites

Wilderness house of pain, makes no sense of it all

Close this mind dull this brain, messiah before his fall

What you see it's not real, those who know will not tell

All is lost sold your souls to this brave new world

Link to comment
Share on other sites

  • 11 months later...

I attended a concert last weekend that featured John Adams' City Noir and Mason Bates' Liquid Interface and while both had some nice moments, they didn't hang together very well as a whole. The weekend before, I attended Stravinsky's Rite of Spring performance and for a 100 year old piece, it still kicked the shit out of the Adams and Bates pieces.

'nuff said.

I saw Mason Bates' "Alternative Energy" with the Chicago Symphony Orchestra last night. What a crock of shit.

There are people in this forum who have more compositional talent than Mason Bates. I was appalled at the music. One thing is for sure, he's got a lot of powerful friends.

Link to comment
Share on other sites

  • 2 weeks later...

Crap analogy.

Shouldn't you be talking porno in some other thread?

Just like the Charlie Chaplin films, the symphonic type of score might be exhausted or no longer in touch with modern audiences.

Alex

Most "modern audiences" don't know their ass from a hole in the ground......

Link to comment
Share on other sites

It seems like orchestral scores are still best served in just three genres of film:

1. sci-fi

2. fantasy/adventure (ala Lord of the Rings)

3. period pieces (can't have electric guitars in Hamlet)

Since Spielberg and Lucas made a lot of films in the first two genres during the 1970's/1980's, there was a huge burst of expertly written scores in those styles that had an impact on copycat films and their associated scores.

So the current scoring drabness needs commercially successful directors who want to revive the retro style of their childhood just as Spielberg/Lucas were doing in the 1970s. The only one I can think of who isn’t as interested in being the flavor of the month but is still rather a sentimental nostalgic is J.J. Abrams. Then you need Giacciano to get serious about being the best damn composer he can be. If they are too commercially focused and not enough craft focused, the director is more like a Michael Bay type who could care less of script, acting, story, etc., as long as it makes a buck. They'll be less likely to nostalgically look to the past for their ideas but more likely to see what the flavor of the month is.

Link to comment
Share on other sites

  • 2 years later...

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.