Film Music Is Dead.

[Koray Savas 2,251]

[Ollie 1,059]

I sense a group hug coming.

[David Coscina 3]

Ha!

Just watched Out of Sight last night after a long time and I really enjoyed David Holmes' score. It's kind of trance '70s funk. Really cool. Also loved that trap drum kit cue that underscores the fight between Don Cheadle and George Clooney at the end of the film. Sweet!

I don't think an orchestral score would have worked as well for this. But I also like Chris Boardman's Payback which also evokes the '70s (and a little bit of Shire's Pelham 1,2,3) but does have some orchestral elements. These were both written in the '90s though.

I think someone was right about pointing out that it's mostly the blockbusters that have suffered the most from poorly written scores. There are still smaller gems that get treated with decent music. I think someone else also mentioned it was Bruckheimer who is really responsible for the noisy mess that is oft associated with these kind of big films, especially since Spielberg has moved from fun entertaining films to more serious films (although I still put JAWS at the top of my Spielberg list).

[Matt C 452]

Technology has been more of a benefit to the filmmakers than composer. It's resulted in shorter time to compose the music, more music tossed in the 11th hour in favor of worse music as replacement, and the opportunity for technically inept people to exist alongside guys who have monstrous musicality.

Very true. And even if you have a good composer working on a film nowadays, the edit always changes and the music has a tendency to get chopped up in the final cut. Or else a classically-trained composer like Patrick Doyle is forced to adapt a certain sound for Thor (the movie not the user), and his voice is squashed completely.

But I don't think all film music is in decline. Some independent films and European films know what they're doing. MovieScore Media focuses on releasing such scores Hollywood tends to forget.

[Koray Savas 2,251]

In the case of Thor, maybe (the universal) you should look equally at Kenneth Branagh. He obviously has pull with the studio if Doyle is on board in the first place.

[Brónach 1,302]

Branagh would have established some basic conditions, but I don't think the studio cares that much about the composer.

[Matt C 452]

In the case of Thor, maybe (the universal) you should look equally at Kenneth Branagh. He obviously has pull with the studio if Doyle is on board in the first place.

Well, people rejoiced when John Debney came on to score Iron Man 2, and look how that turned out (a much better score than Djawadi's but still not great). I mean, previous Doyle/Branagh collaborations got us good scores like Dead Again, Hamlet and Much Ado About Nothing. Sure, Marvel Studios has been more lenient with letting directors pick the composers now, but they put pressure on the composers to dumb it down.

I'm not looking forward to Silvestri's Captain America score. But Johnston always brings the best out of his composers, so it might be good.

[Koray Savas 2,251]

Well I wouldn't object to the sentiment that all Marvel produced films are terrible. Not much for a composer to get inspired about.

[Brónach 1,302]

Something with the tone of Robocop would have fit Iron Man.

[Kevin 22]

Something with the tone of Robocop would have fit Iron Man.

Get the choir singing "Iron Man"

[Delorean90 42]

Ah, but that would be Robocop 2.

[Kevin 22]

Ah, but that would be Robocop 2.

Good score, unfairly treated by film score fans.

[Morn 8]

I mostly agree. There is little of quality today.

But then occasionally you find an exception.

[Padme 0]

These days, certainly. I'm just curious where the new generation of great composers are? Same with directors for that matter. Most great directors around are 40+..... Where are the new inspiring ones who are going to shape the way of film making like Spielberg, Scorsese etc did in their youth? Hell even Tarantino who was considered a wonderkins when Reservoir Dogs came out is now getting past his sell by date

[Faleel 5,345]

Film Music isnt dead yet, know when the only composers left are the "Synth-happy Zimmer clones" then Film Music will be dead as we knew it

[Delorean90 42]

Ah, but that would be Robocop 2.

Good score, unfairly treated by film score fans.

I don't know it terribly well, but I enjoy what I've heard.

[Morn 8]

Film Music isnt dead yet, know when the only composers left are the "Synth-happy Zimmer clones" then Film Music will be dead as we knew it

Name the last score you heard that had an exceptional level of musicianship and originality.

[#SnowyVernalSpringsEternal 10,265]

The Lord Of The Rings: The Return Of The King

[crocodile 7,999]

There Will Be Blood

Karol

[Sharkissimo 1,973]

Two exceptions.

[MSM 126]

As long as Williams is around, film music isn't dead. There would be more hope though if there would be more quality films made.

[Kevin 22]

You know, I was listening to a classical radio station in the car for a little bit, and they had a section of 0 A.D to 1800 A.D, which shows how "superior" music was during that time compared to now. It's just all about perspective.

[Sharkissimo 1,973]

You know, I was listening to a classical radio station in the car for a little bit, and they had a section of 0 A.D to 1800 A.D.

You're missing out a good 2 centuries of superb music.

And we're talking film music here, not classical.

[mahler3 478]

Technology has been more of a benefit to the filmmakers than composer. It's resulted in shorter time to compose the music, more music tossed in the 11th hour in favor of worse music as replacement, and the opportunity for technically inept people to exist alongside guys who have monstrous musicality.

Very true. And even if you have a good composer working on a film nowadays, the edit always changes and the music has a tendency to get chopped up in the final cut. Or else a classically-trained composer like Patrick Doyle is forced to adapt a certain sound for Thor (the movie not the user), and his voice is squashed completely.

But I don't think all film music is in decline. Some independent films and European films know what they're doing. MovieScore Media focuses on releasing such scores Hollywood tends to forget.

Yes Mikael's MSM label is superb and many of today's best film music comes from Spain, Portugal, Italy and Germany.

Australia too, Christopher Gordon in particular is very renowned in that neck of the woods and gaining more and more acclaim. Hopefully Hollywood will give him more opportunities sooner, rather than later.

Not all of Hollywood film music is uninspired and I'll have to correct you and Koray re "Thor". Patrick Doyle's voice has NOT been squashed for the score, it's very much prominent in many of the cues. Just because he decided to evolve and embrace a more percussive sound, it doesn't mean that the score isn't any good. i've been fortunate enough to hear the complete score and it is a seriously thrilling work. The contemporary and almost rock inspired / rhythmic sensibilities are worth noting, as is the strong melodic themes for Thor, Loki, Jane and Odin. The London Symphony Orchestra are also on top form and there's some tremendous, almost Wagnerian outbursts.

Marvel's chief (Kevin Freige, I think) is a huge fan of Patrick's music and the comments relating to patrick being forced to write in a certain way are simply not true. You can find out more about all of this when my interview with him goes live in tomorrow's Film Score Monthly Online (www.fsmonlinemag.com) plus hear full length cues from the Thor score, which should give everybody a better idea of Patrick's very worthy achievements.

- Tim

[Kevin 22]

You know, I was listening to a classical radio station in the car for a little bit, and they had a section of 0 A.D to 1800 A.D.

You're missing out a good 2 centuries of superb music.

And we're talking film music here, not classical.

No, but my point is still very relevant. There will always be people who say that something that is older is superior to something today.

[Sharkissimo 1,973]

You know, I was listening to a classical radio station in the car for a little bit, and they had a section of 0 A.D to 1800 A.D.

You're missing out a good 2 centuries of superb music.

And we're talking film music here, not classical.

No, but my point is still very relevant. There will always be people who say that something that is older is superior to something today.

Yes, like Jerry Goldsmith, John Barry etc..

[Matt C 452]

[Patrick Doyle's voice has NOT been squashed for the score, it's very much prominent in many of the cues. Just because he decided to evolve and embrace a more percussive sound, it doesn't mean that the score isn't any good. i've been fortunate enough to hear the complete score and it is a seriously thrilling work. The contemporary and almost rock inspired / rhythmic sensibilities are worth noting, as is the strong melodic themes for Thor, Loki, Jane and Odin. The London Symphony Orchestra are also on top form and there's some tremendous, almost Wagnerian outbursts.

The clips I heard gives me that impression. I'll gladly take it back if the full score indeed sounds like that.

[#SnowyVernalSpringsEternal 10,265]

Yes, like Jerry Goldsmith, John Barry etc..

Are you saying what is written today is on par with Goldsmith's output?

[Sharkissimo 1,973]

Yes, like Jerry Goldsmith, John Barry etc..

Are you saying what is written today is on par with Goldsmith's output?

I'm saying both openly stated their disillusionment with the state of film music, toward the end of their careers. Through interviews.

[#SnowyVernalSpringsEternal 10,265]

Ok I understand now.

Everything was better in the old days!

[Thor 7,490]

[gkgyver 1,645]

The music certainly was.

[Koray Savas 2,251]

We've got this now!

[TownerFan 4,983]

Patrick Doyle's voice has NOT been squashed for the score, it's very much prominent in many of the cues. Just because he decided to evolve and embrace a more percussive sound, it doesn't mean that the score isn't any good. i've been fortunate enough to hear the complete score and it is a seriously thrilling work. The contemporary and almost rock inspired / rhythmic sensibilities are worth noting, as is the strong melodic themes for Thor, Loki, Jane and Odin. The London Symphony Orchestra are also on top form and there's some tremendous, almost Wagnerian outbursts.

Marvel's chief (Kevin Freige, I think) is a huge fan of Patrick's music and the comments relating to patrick being forced to write in a certain way are simply not true. You can find out more about all of this when my interview with him goes live in tomorrow's Film Score Monthly Online (www.fsmonlinemag.com) plus hear full length cues from the Thor score, which should give everybody a better idea of Patrick's very worthy achievements.

Thanks for the heads-up, Tim. Looking forward to listen to your interview!