Crude scores in great films.

[Quintus 5,391]

The original Evil Dead wouldn't be half as good as it is without its horrible score. In a weird kind of way it's predominately synth score actually adds to the terror on screen, in a profoundly morbid sense. Its just as crude as the onscreen violence and hence its just as effective. If they re-released that movie with a full orchestral score I would not pay to see it. For some reason I think its fair to say that an orchestra would lessen the overall impact of the movie.

The music of Evil Dead is a perfect example of bad, but good movie music. You wouldn't listen to it on headphones, but you would miss it if it wasn't as it is in the movie.

Another film with great but quite awful music is Romero's Dawn Of The Dead. In fact in this instance I'd actually say that the music is brilliant - within the movie. But again, I wouldn't go out and buy the cd or anything.

Hmm, great horror films of a certain era seem to excel in crude but effective scores. Is there a pattern? Is this particular brand of scoring exclusive to the Evil Dead era of low budget movie making, or does it live on still?

[JoeinAR 1,759]

any good movie that Vangelis scored.

[#SnowyVernalSpringsEternal 10,251]

Does such a thing exsist/

[Ollie 859]

According to some, yes.

Goldeneye would be my choice.

[Romão 1,931]

Blade Runner

[Quintus 5,391]

I think its fair to say that the score to Terminator 2 is quite superb. Yes it sounds bloody awful as a stand alone work, but within the movie not only does it serve its purpose - it succeeds on every level, in movie scoring terms.

[bondo 33]

any good movie that Graeme Revell has scored (I'm sure such a thing exists..... maybe?)

[Romão 1,931]

The Crow was alright.

[#SnowyVernalSpringsEternal 10,251]

So was Dead Calm.

[Dr.ZacharySmith 0]

Dare I say the the score for the Ten Commandments shows that Bernstein was a little out of his depth at that time. (Ouch, I feel the rocks pelting me emanating from Europe and the US...I'll shut up now... Eeeek!)

[Dole 11]

Dare I say the the score for the Ten Commandments shows that Bernstein was a little out of his depth at that time. (Ouch, I feel the rocks pelting me emanating from Europe and the US...I'll shut up now... Eeeek!)

Dole: Throwing as many rocks as he can find!

BTW, Dr. No is a god awful terrible score for a good film.

[Dr.ZacharySmith 0]

Ohhh I like those smilies...kinky. Can I have the leather ones next time? Oh the pain, mmmmm, the pain!

[Hitch 55]

Then I hope pain is something you enjoy.

Listening to Brian Tyler's TIMELIME in Richard Donner's massive blunder was awful.

[Dr.ZacharySmith 0]

Then I hope pain is something you enjoy.

Listening to Brian Tyler's TIMELIME in Richard Donner's massive blunder was awful.

Is that an invitation????????? Oh, you saucy devil! Never fear, Smith is here!

[Frosty 0]

I don't know if it was a great movie (I thought it was) but the synth score from 2010.

[Goldsmithfan 3]

While it's certainly not the most creative, unique or nuanced score, I wouldn't refer to the Evil Dead score as a bad one. (Sounds like a contradiction in terms doesn't it) It was LoDuca's first outing into film so of course it's going to be over-the-top and insane at points for a film like this, but it certainly works. The ensemble, made up of strings, percussion, synth, piano and accoustic guitar, may not be unique to the horror genre at all, but LoDuca made it his own.

However, the way it works in the film is another story due to how butchered it was when it was mixed into the film. The 'Rape of the Vines' music was largely left out while the cue right after it, 'Panic', a lackluster attempt at best, was left in all its 'glory'. Far too much of the score was left out. The cue that practically begins and ends with Ash slamming the broken cellar door was meant to continue for about two minutes afterwards, going into new, more subtle, territory for the most part. I don't think Raimi knows how to leave a score alone.

In any case, Evil Dead is a very laughable film, in my opinion, (I own it because of this fact) and the score is one of the best things going for it along with the cinematography. But uh yeah, the score to Army of Darkness is about thirty billion times better.

I wouldn't say Blade Runner is a bad score either. Hmm . . . Considering many, many, many, many things I've read here I'm beginning to believe more and more that I'm one of the few people here that doesn't have some weird aversion toward electronics.

[tpigeon 3]

I rather liked the scores to Blade Runner and Terminator 2. They proved that a symphonic approach sometimes just isn't the right way to score a film.

Ted

[AC1 3,565]

I'm beginning to believe more and more that I'm one of the few people here that doesn't have some weird aversion toward electronics.

I beginning to develope an aversion to orchestral scores.

[Ollie 859]

Then I hope pain is something you enjoy.

Listening to Brian Tyler's TIMELIME in Richard Donner's massive blunder was awful.

Listening to it away from the film is just as painful.

[Goldsmithfan 3]

I'm beginning to believe more and more that I'm one of the few people here that doesn't have some weird aversion toward electronics.

I beginning to develope an aversion to orchestral scores.

That's the spirit! "Fight the real enemy!"

Wait . . . There are tons more good orchestral scores than there are all electronic scores. But that doesn't make electronics bad. It can go either way. Usually, if you're creative enough to write an orchestral score and augment it with electronics you've got enough crazy creativity in your head to make it work. However, it seems that many composers that only do electronic scores are the ones you gotta worry about. Or something like that. Luckily, they usually get stuck with low profile B-movies.

I just don't get why electronics get such a bad rap. I mean, they're musical (unlike when a turntable is used as an 'instrument'; damn you for Mr. Baseball Jerry Goldsmith!!!). It just seems that a lot of JWfanners are really against synths or electronics as a whole. WEIRDOS!

[King Mark 2,924]

The Exorcist score is pretty crude.

It just seems that a lot of JWfanners are really against synths or electronics as a whole. WEIRDOS!

I'm not against the use of electronic scores in films,I'm just against electronics in the film music c.d.'s I listen to.

K.M,

[robthehand 3]

I'm not against the use of electronic scores in films,I'm just against electronics in the film music c.d.'s I listen to.

But KM, The Empire Strikes Back has (some) synths... 8O

And do you mean all electronic instruments? What about theremins?

[Ollie 859]

I'm not against electronics in film scores, I'm just against it when it's not used correctly.

[robthehand 3]

I'm not against electronics in film scores, I'm just against it when it's not used correctly.

8O

I think that's the main reason "old Zimmer" was so much better than "new Zimmer". Electronics should be used if/when appropriate, and not just as a gimmick or a lazy substitute for a real orchestra.

[Goldsmithfan 3]

I'm not against the use of electronic scores in films,I'm just against electronics in the film music c.d.'s I listen to.

But KM, The Empire Strikes Back has (some) synths... 8O

And do you mean all electronic instruments? What about theremins?

Yeah, Williams' synths in The Empire Strikes Back and Return of the Jedi are very good examples of synths put to good use.

[KingPin 194]

Mystic River. Great movie, but Clint Eastwood's music become very lethargic, and does so very quickly. It's the same motif played in the same drone manner throughout the entire film. Not even the talent of the Boston Symphony was able to save it.

[AC1 3,565]

I'm not against electronics in film scores, I'm just against it when it's not used correctly.

Really, and what is the correct way, IYO?

[tpigeon 3]

Mystic River. Great movie, but Clint Eastwood's music become very lethargic, and does so very quickly. It's the same motif played in the same drone manner throughout the entire film. Not even the talent of the Boston Symphony was able to save it.

That score served its purpose, and it did so quite well. I like how Eastwood writes for strings; I find it a good reflection of the emotions of the film. And I agree with you about the movie - it's excellent.

Ted

[robthehand 3]

Really, and what is the correct way, IYO?

When it suits the film/particular scene.

[Red 73]

Like in Blade Runner.

[AC1 3,565]

Really, and what is the correct way, IYO?

When it suits the film/particular scene.

I think this goes for orchestral scores too.

[robthehand 3]

It goes for any scores! Much the same as a composer might chose to use unusual instruments in the orchestra, he can chose to use synthesisers, it all depends on what the film needs. I'm not saying that the orchestra should be the basis, and synths used if necessary - violins should only be used if it's what the film calls for. Trumpets, oboes, if they don't suit the film, they shouldn't be used. Whatever the film needs, the composer should use, without confining themself to just the standard orchestra. Herrmann recognised this, he saw no reason to (quoting him) "limit yourself to what you can do in a concert hall."

A synthesiser should be just used and thought of as another instrument, no more special, no less special. What I mean is, use synths if they will suit the film, but don't use them as a substitute for a violin just because you can't/won't pay the appropriate musician.

[Incanus 5,519]

I am sure I am going to get some bashing for saying this but I did not like Herrmann's Fahrenheit 451 score at all. It was distracting for the most part and way too loud. Crude is the word I would use for most of it.

[AC1 3,565]

I am sure I am going to get some bashing for saying this but I did not like Herrmann's Fahrenheit 451 score at all. It was distracting for the most part and way too loud. Crude is the word I would use for most of it.

What you are saying is simply perverse. The soundtrack is beautiful.

[robthehand 3]

I am sure I am going to get some bashing for saying this but I did not like Herrmann's Fahrenheit 451 score at all. It was distracting for the most part and way too loud. Crude is the word I would use for most of it.

Have you seen the film? I'd hardly say it qualifies as a "great film".

However, in case you haven't, I strongly recommend watching it. It's nothing particularly special, but I for one appreciated the score a lot more afterwards. And also, which version are you listening to?

[Incanus 5,519]

Perhaps I should say Fahrenheit 451 score is distracting in some parts while you are watching the film. At least I got little annoyed by the blaring music in some sequences. I know we have gotten used to this different less showy way of using music in the films nowadays and that is why I found it distracting and over the top. The more psychologically motivated music is very good as usual for Herrmann.

[#SnowyVernalSpringsEternal 10,251]

I know we have gotten used to this different less showy way of using music in the films nowadays and that is why I found it distracting and over the top.

Yes a full orchestra with 5 Gig of synth pad overlays screaming out the exact same notes at the exact same time in poweranthem galore!

Either we are going backwards or I'm starting to get old.

[AC1 3,565]

Perhaps I should say Fahrenheit 451 score is distracting in some parts while you are watching the film. At least I got little annoyed by the blaring music in some sequences. I know we have gotten used to this different less showy way of using music in the films nowadays

Ah, yes, today's scores which have the tendency to be ever-present and reassuringly obvious (they acknowledge that what you already know from the images). Yes, I guess that's more your cup of tea.

[Incanus 5,519]

Perhaps I should say Fahrenheit 451 score is distracting in some parts while you are watching the film. At least I got little annoyed by the blaring music in some sequences. I know we have gotten used to this different less showy way of using music in the films nowadays

Ah, yes, today's scores which have the tendency to be ever-present and reassuringly obvious (they acknowledge that what you already know from the images). Yes, I guess that's more your cup of tea.

So you say that just because I consider Fahrenheit 451 a obtrusive and crude score I like only obvious in-your-face simplicity of most modern scores? Herrmann's score in the movie did not exactly delve so deep in most sequences either. But I guess Herrmann is so sacrosanct no one can criticize his works.

Yes we do have that kind of scores which have blaring synths and orchestra wall to wall through the movie underlining obvious things in the film and then there are still some scores that actually depict some level of deeper understanding of film scoring and it's sensibilities. Plus it is up to the film makers to decide what role does the score play in the narrative. Is it wall paper or does it have something deeper to say.

[AC1 3,565]

So you say that just because I consider Fahrenheit 451 a obtrusive and crude score I like only obvious in-your-face simplicity of most modern scores?

Is that not your trademark? :?

[Incanus 5,519]

LOL

[robthehand 3]

I guess Herrmann is so sacrosanct no one can criticize his works.

No - I've just never come across anything he's written that I'd want to criticise.

[Dr.ZacharySmith 0]

You want a crude soundtrack...take a gander at "The 300 Spartans." Gosh...sounds like Retsina being poured down organ pipes trying to do a crude Zorba the Greek!

[tpigeon 3]

Another great electronic score is A Nightmare on Elm Street. I'm sure I'll catch a lot of heat for this, but the music is great for the images.

Ted

[crocodile 6,294]

Jaws

Just kidding. Crash and Brokeback Mountain from this year.

Karol

[Milwaukee 0]

For Your Consideration ...

- Witness

- Chariots of Fire

- The Killing Fields

[Red 73]

Has anyone mentioned Gladiator? I thought that it was a great film that deserved better than Zimmer.

[Elmo Lewis 6]

Traffic.

[AC1 3,565]

For Your Consideration ...

- Witness

- Chariots of Fire

- The Killing Fields

I don't remember The Killing Fields but the first two are strange choices, pal. I mean, there are thousands of faceless, expendable orchestral scores, so why pick scores that gave cinema some really impressive moments*? Is it because they are electronic? Are you by any chance one of them narrow-minded synth haters?

* The barn-building music for Witness and the "Olympic" theme for Chariots of Fire are unadulterated classics. Moments like these don't cross our path every day.

Alex

[Dr.ZacharySmith 0]

Has anyone mentioned Gladiator? I thought that it was a great film that deserved better than Zimmer.

Yes...finally someone agrees with me about this score...yuck! Imagine what Rozsa, Williams or Goldsmith might have produced given the same material.