Quintus

You are a very fine fellow, Mr. Chen, and I am very fond of you. But you do occassionally tend towards pedantry, and in extreme cases, obtuseness. Remember that you are really just a little fellow, in a wide world.

There, he said it quite openly, he's possibly interested. So if the showrunners don't even speak to Shore about it and just go in another direction, basically fuck this show. 
 
I'm really fearful of a Djawadi style approach with this. 

But according to the admin here movie music is in great shape right now and there's plenty to talk about; we don't require more interesting or more controversial topics at JWFan. 
 
Little wonder I have all but abandoned what used to be a major hobby and barely ever listen to film music anymore, especially the new stuff. 
 
Film music is dead as disco. When Williams does pass, it's all over. 

Second season of Cobra Kai in the bag. Wtf this is somehow my favourite show now 

That's another major issue. To think that a now wholly average Alan Silvestri is behind the unremarkable music to what is the biggest grossing blockbuster of all time, and people apparently rave about it... that's where scoring is now, that's the zenith. 

I actually lament the passing of the days when that sort of effort was part and parcel of getting into a score. 

Romão's was not even a creme de la creme list and it still utterly smashes all new music in movies. 

That's another major issue. To think that a now wholly average Alan Silvestri is behind the unremarkable music to what is the biggest grossing blockbuster of all time, and people apparently rave about it... that's where scoring is now, that's the zenith. 

This is where differing definitions always come into it. 

Romão's was not even a creme de la creme list and it still utterly smashes all new music in movies. 

Yeah, when did "great" start to mean "OK"?
 
 
Just rotate the number 180 degrees and he's right.

Interesting thread on Twitter by Joe Kramer explaining the state of film scoring right now.
 
 
"This is a sad truth for everyone trying to make it in show business - it is virtually impossible for people who are neither born into money or born into the business.  And it IS a business - money is the bottom line.  As one very successful producer recently told me "Joe, no one gives a shit about your art".  I can count the number of mainstream Hollywood composers that I KNOW write all their music themselves on one hand, John Williams being the most famous example.  Everyone else is a team leader, a figurehead for a team of composers who are getting no credit, very little money, and no job security.  None of us have any job security anyway.  One of my closest friends made a deal behind my back that swindled me out of hundreds of thousands of dollars and then dumped me for a Zimling and this was after assuring me that working for him/her was the same as having a "savings bond". In 2010, having scored "The Way of The Gun" and close to 40 TV movies for the Hallmark Channel, I was so broke I had to sell my CDs and DVDs to feed my son. This is not a pity-party for me.  This is just a reality check for people who dream of scoring movies in Hollywood: It is a cutthroat community of people who are in the business to get rich and famous.  Writing music of any quality is secondary to that ultimate goal. And keep in mind, being an artist is not a civil right - no one owes me anything, even the ex-friend who swindled me.  Making art is a hobby, and if we can manage to make some money from it, so much the better. I promise to always do my best to write all the music in anything I score myself, and if I don't, to properly credit the people who co-write with me (i.e. to the film in a meaningful way.  These promises have definitely impeded progress in my career - I haven't scored a single mainstream Hollywood movie since 'Rogue Nation'.  But I also haven't ripped anyone off, or swindled my friends, or presented a false impression. I promise not to hire an 'assistant' who is really a ghost-writer.  I promise to do my best not to just copy the temp, but to contribute of myself to directors, producers, or studio execs.  To the OP, Nadia, thank you for sharing your story.  There are a lot of hard truths that need to be shown to those who hope to join this business.  I think often of a quote once heard, spoken by one of the cinema's greatest composers:  "I got into this business to make a living.  Now people get into it to make a killing."  In closing, let me reiterate, this is not whining - this is a tough business, and it's not for the faint of heart to undertake. It can be wonderfully rewarding, but it is also impossibly challenging.  I hope it can evolve to a community that helps each other rather than competes with each other”.

That's another major issue. To think that a now wholly average Alan Silvestri is behind the unremarkable music to what is the biggest grossing blockbuster of all time, and people apparently rave about it... that's where scoring is now, that's the zenith. 

This compared to previous decades where there were outstanding scores coming out from every left right and centre of Hollywood and elsewhere, written by absolute virtuosos and downright musical prodigies. It was like that for years and years and years.
 
Even B-movies and lesser had very fine music written for them. 

This is where differing definitions always come into it. 

This compared to previous decades where there were outstanding scores coming out from every left right and centre of Hollywood and elsewhere, written by absolute virtuosos and downright musical prodigies. It was like that for years and years and years.
 
Even B-movies and lesser had very fine music written for them. 

Not at all, Erik. 
 
Thanks for the list of names, I would *sincerely* love to see some of your suggestions rise up and be given the opportunity to prove themselves and indeed carry that torch. Fuck, I'd love nothing more. But apparently film scoring work isn't really the right environment at the moment for that kind of thing to happen. Artistry doesn't seem to be nurtured in a way we would like it to be, or at least to an extent where it can make a big splash on the scene. 
 
Yet I believe that real talent, the blood n guts god given stuff, does rise up above these challenges. And if it doesn't, it was probably never really good enough to begin with. 

Ugh... I hate doing home work for other people and I'm sure you'll just crap all over what ever I write because you already have your mind set but here we go anyway...

And yes, Giacchino, Desplat, Powell, Silvestri, Howard, etc are still writing scores in that style you so covet. But there is a new crop of exciting composers that have been passed the torch and are doing great things in the film, TV and video game world...
 
Look up people like Christopher Willis, Nami Melumad, Philip Klein, Austin Wintory, Gordy Haab, Marcus Paus, Federico Jusid, Fernando Velazquez, Eímear Noone, Chad Cannon, Marcus Trumpp, Anne Kathrin Dern,. Ralf Wengenmayr, Carlos Riveria, Amelia Warner, George Kallis, Alexander Cimini, John Paesano, Abel Korzenowski, Panu Aaltio, etc, etc, etc...

All of them... extremely gifted and are currently crafting wonderful, varied scores that keep film music magical, nostalgic, fun, exciting and new.
 
Now it's up to you to discover them for yourself.

This compared to previous decades where there were outstanding scores coming out from every left right and centre of Hollywood and elsewhere, written by absolute virtuosos and downright musical prodigies. It was like that for years and years and years.
 
Even B-movies and lesser had very fine music written for them. 

Gia fan? Desplat? Or are we talking Powell? 
 
I'll be more specific: when JW passes, great film scoring in the neo-romantic style will be dead. None of this watered down substitute from the likes of those guys mentioned above. 

But according to the admin here movie music is in great shape right now and there's plenty to talk about; we don't require more interesting or more controversial topics at JWFan. 
 
Little wonder I have all but abandoned what used to be a major hobby and barely ever listen to film music anymore, especially the new stuff. 
 
Film music is dead as disco. When Williams does pass, it's all over. 

I agree with you about the lack of film scoring these days. But as long as Intrada, Varese and LLL continue to pump out the oldies, I’ll be happy.
 
And if they stop, I’ve got more than enough to keep me happy for the remainder of my time on earth.
 
And if that makes me seem like a narrow minded old grouch, then so be it.
 
I've been called worse.

But according to the admin here movie music is in great shape right now and there's plenty to talk about; we don't require more interesting or more controversial topics at JWFan. 
 
Little wonder I have all but abandoned what used to be a major hobby and barely ever listen to film music anymore, especially the new stuff. 
 
Film music is dead as disco. When Williams does pass, it's all over. 

Whatever you're into.