Leaderboard

I'm resorting this up because I think all this useless and stupid controversy needs clarifications. I already wrote this on the FSM board, but I guess repetita juvant: First of all, let's get down to facts: the day after this stupid controversy exploded (keep in mind it was created and agitated by incorrect Italian news agency reports and then reprised by international agencies), Morricone released an official press statement to correct and clarify what he said. Here's a translation: I think this clarifies everything. The fact he isn't comfortable with a movie showing so much blood and carnage maybe sounds ridiculous to some fellows here considering he scored A LOT of violent and disturbing films over his long career. But we should take into account that he's now 85 years-old and probably his taste in movies has changed. Also, everyone who knows and follows Morricone since a long time knows very well that the core matter about consistency and coherence of film composition has ALWAYS been one of his strongest aesthetic flags, which he sometimes defended to the point of sounding a bit rude. He always believed in film music as something that needs artistic integrity and he spoke against the usage of "preexisting tracks-as-film-score" many times, especially when this approach is in conflict with an original score. He had strong discussions with Terrence Malick during DAYS OF HEAVEN and he had the guts to tell him: "Terry, you HAVE TO choose!" (this is a story he told during a public conference I attended). But he always acknowledged the FREEDOM of the director to choose whatever approach is right for the movie (in fact, he spoke highly several times about Kubrick's use of music in his movies and it looks like he's fine with Tarantino's as well). But he pertains to a generation/category of film composers (like Williams and Goldsmith) who STRONGLY believe in the creation of original music suited and tailored to the film's needs, with the utmost respect of the film itself. As he many times stated, the primary task of the film composer is TO SERVE the film. In this sense, I find perfectly understandable he maybe doesn't see eye-to-eye with some of Tarantino's musical choices. Nevertheless, he respects and admires him. What I found quite insulting in all this useless controversy is the fact that most of the people who commented it around the internet quickly divided into fanboy factions (be it Tarantino's camp or Morricone's camp), following this nowadays common internet behavior of taking a stance over every single matter to the point of catfighting over it. And this happened also with film music lovers, who should probably be more aware than others that what Morricone said is something that's part of the job of the film composer (i.e. discussing and even dissenting with the director, finding the right approach for the movie, etc.). Instead, many score nerds popped up and started to lambast Morricone, depicting him as an old fart who is out of touch with contemporary film aesthetics. Yesterday I did a piece about this for the website I write for. It's written in Italian, but maybe with an automated translator you'll get what is my feeling over all this: http://bit.ly/114TAii

Why is McCoy no longer important?

Not to be an arrogant bastard, but I like my poster better.

I'm proud to be able to finally announce our special guest for this challenges' Hear From the Pros. We have the privilege of having two-time Golden Globe nominee Abel Korzeniowski join us! Abel is one of the rising stars of film music, often lauded with critical acclaim for his rich, vibrant music, this talented man has agreed to help act as a professional advisor for the challenge by offering commentary on the entries. He's excited to hear all your work and looks forward to sharing this experience with us. That's right folks, bring out your A-game! - KK

Why would anyone complain about this?

It seems like JW’s action music fits into three distinct categories. Ostinato: categorized by rhymic repition. Swashbuckling: emphasis is on melody and harmony and ornaments. This is the Korngoldian/old fashion approach to action music. Modern: clusters and advanced techniques. Great for intense dinosaur music.Examples of the Ostinato action: Empire Strikes Back: Hyperspace - Phantom Menace: Duel of the Fates (after chorus)Minority Report: Everybody Runs! Minority Report: Spiders! Examples of Swashbuckling/Melodic Action: ESB: Asteriod Field: Jaws: Shark Cage Fugue: Star Wars: Battle of Yavin: Hook: Ultimate War: Jurrasic Park: TRex: Far & Away, Indiana Jones, Superman, etc. Modern: Jurassic Park - Raptor: I think if broken down by these three styles, you see more continuity in his action approach. For example, ostinato approach that seemed fresh in Minority Report was heard in Hyperspace too so its really just a matter of which action approach was used rather than an evolution. It seems like his bigger action sequences such as Battle of Hoth, Desert Chase in Indiana Jones, T-Rex finale in Jurassic switch between these various approaches depending on the dramatic needs.

One of my favorites. The music for the TIE Fighter Attack is based on the Rebel Fanfare, with descending five-note phrases occurring throughout. This is film scoring at its most triumphant - a cue unlike any other ever written fora movie, and so kinestheticaliy connected to the imagery that it is impossible to believe either existed before the other. A crescendo is reached with the Death Star motif, which brilliantly carries the drama into its final act by musically reminding the audience that the real battle is still to come.

It most certainly does, it just takes some studying/repeated listens to appreciate it.

Check out the Star Wars and Indy trilogies, Superman, Hook and the Jurassic Parks. Some top-notch action cues in there.