Is it possible to write the Best Film Score Of All Time in the 2020s?

[Mephariel 451]

52 minutes ago, Bellosh said:

 

Jurassic Park is great obviously. I just don't think it's as cohesive as E.T.  And obviously I agree with those terms being subjective.....to a point.

 

But regardless, the films you were naming are still well before the 2020s.

 

The greatest symphonies have been written, so it might be safe to assume the greatest scores have been written.

 

 

If someone thinks Joker is better than E.T. than I want to be on E.T.'s spaceship and learn how to be a botanist wherever the fuck E.T. lives and get the hell out of here.

 

I disagree with the statement that the greatest symphonies have been written means the greatest scores have been written.

 

There is a huge difference between scores and symphonies. One of my favorite scores (and one of the most acclaimed) is Interstellar, and that won't win any symphony awards.

 

As for your statement about Joker, you better start packing...

 

21 minutes ago, Bellosh said:

Imagine a composer nowadays being handed the reel for E.T.

 

they'd probably have no music when they fly on their bikes, and we'd just hear the pedaling of the bikes and E.T. breathing.

 

or worse, utterly forgettable.

 

the movie would be straight to Netflix and forgotten in a week.

 

Come on man. You think John Powell will score that E.T. scene with no music? Or Giacchino? Or Desplat? Or even Zimmer? I think you are exaggerating the lack of orchestral scoring quite a bit. The truth is, there is probably more orchestral scoring now than ever before because there are more movies now than ever before. You just have to cast a wider net to find good ones. 

 

As for the movie being forgettable, I agree. It is hard to make a memorable alien movie nowadays. And there are a lot better movies since E.T.

 

[Bellosh 3,398]

19 minutes ago, Mephariel said:

 

I disagree with the statement that the greatest symphonies have been written means the greatest scores have been written.

 

There is a huge difference between scores and symphonies. One of my favorite scores (and one of the most acclaimed) is Interstellar, and that won't win any symphony awards.

 

As for your statement about Joker, you better start packing...

 

I'm not trying to compare symphonies and scores.

 

But the greatest symphonies have been written. And a lot of the greatest film composers have taken a decent amount of inspiration from them.

 

I don't think Interstellar is bad, I remember enjoying the music greatly during that film.

 

You can enjoy that more than E.T.

 

E.T. isn't even my favorite score.  But it's my choice for greatest score of all time.

 

I can't fathom thinking the score to Joker is better than E.T.

 

Put on ANY track of E.T. right now and it's filled with emotion and beauty.  And you know where you are in the story/film, and you want to keep moving to the next part.  It's adventurous, scary, beautiful, romantic, sad, and happy.  It's everything that a score and film should be.

[Mephariel 451]

Just now, Bellosh said:

 

I'm not trying to compare symphonies and scores.

 

But the greatest symphonies have been written. And a lot of the greatest film composers have taken a decent amount of inspiration from them.

 

I don't think Interstellar is bad, I remember enjoying the music greatly during that film.

 

You can enjoy that more than E.T.

 

E.T. isn't even my favorite score.  But it's my choice for greatest score of all time.

 

I can't fathom thinking the score to Joker is better than E.T.

 

It is simple. All it takes is someone who watched both movies and think the music in Joker works better than the music in E.T. 

 

Joker won every award that year. Someone probably think that already. 

[Bellosh 3,398]

13 minutes ago, Mephariel said:

 

Come on man. You think John Powell will score that E.T. scene with no music? Or Giacchino? Or Desplat? Or even Zimmer? I think you are exaggerating the lack of orchestral scoring quite a bit. The truth is, there is probably more orchestral scoring now than ever before because there are more movies now than ever before. You just have to cast a wider net to find good ones. 

 

As for the movie being forgettable, I agree. It is hard to make a memorable alien movie nowadays. And there are a lot better movies since E.T.

 

 

I don't think any of those composers would have made awful decisions.

 

It simply would not have been as great.  John Williams is that good.

 

I can't think of one movie since E.T. where the score of the last 30 minutes is as powerful and as much as a 'character' itself than anything on screen.

[Mephariel 451]

1 minute ago, Bellosh said:

 

I don't think any of those composers would have made awful decisions.

 

It simply would not have been as great.  John Williams is that good.

 

I can't think of one movie since E.T. where the score of the last 30 minutes is as powerful and as much as a 'character' itself than anything on screen.

 

John Williams is imo, the greatest composer or close to the greatest. Nothing to be a shame of if you can't score that scene as well as Williams. 

 

[Bellosh 3,398]

4 minutes ago, Mephariel said:

 

It is simple. All it takes is someone who watched both movies and think the music in Joker works better than the music in E.T. 

 

Joker won every award that year. Someone probably think that already. 

 

Joker is not better than E.T. no matter how many awards its won.

 

Joker might have decent music that works on film, but it's so utterly forgettable outside it.  I think the greatest score of all time should atleast have a theme people can whistle and remember, no? 

[Mephariel 451]

Just now, Bellosh said:

 

Joker is not better than E.T. no matter how many awards its won.

 

Joker might have decent music that works on film, but it's so utterly forgettable outside it.  I think the greatest score of all time should atleast have a theme people can whistle and remember, no? 

 

I agree Joker is not better than E.T. 

 

But let say you do a poll on YouTube or Reddit where majority of the posters are millennials or zoomers, and you ask this question and got 100,000 responses. You don't think at least 20,000 will vote for Joker? I wouldn't be surprised if Joker beat E.T. to be honest. 

 

I think you hang out too much in film music communities. I bet there are snobby film critics that think music should be transparent support and pick Joker over E.T. as well.  

[Bellosh 3,398]

5 minutes ago, Mephariel said:

 

I agree Joker is not better than E.T. 

 

But let say you do a poll on YouTube or Reddit where majority of the posters are millennials or zoomers, and you ask this question and got 100,000 responses. You don't think at least 20,000 will vote for Joker? I wouldn't be surprised if Joker beat E.T. to be honest. 

 

I don't care what they think. They'd all be wrong. 

 

But if there was to be an official certified group of people to choose the greatest score of all time,  E.T. AT WORST, would be discussed.  Joker wouldn't even be mentioned or thought of.

 

Quote

I bet there are snobby film critics that think music should be transparent support and pick Joker over E.T. as well.

 

Sure, but it doesn't mean they're right.

[Unlucky Bastard 7,782]

Isn't Joker just the latest in Hollyweird's trendy ephemeral picks like Brokeback Mountain, The Social Network, Gravity, Chariots of Fire and Midnight Express?

[Bellosh 3,398]

3 minutes ago, The Big Man said:

Isn't Joker just the latest in Hollyweird's trendy ephemeral picks like Brokeback Mountain, The Social Network, Gravity, Chariots of Fire and Midnight Express?

 

Nobody will be talking about Joker or that score in 40 years.

 

People will still be talking about E.T. though like we are now.

[Mephariel 451]

27 minutes ago, Bellosh said:

 

I don't care what they think. They'd all be wrong. 

 

But if there was to be an official certified group of people to choose the greatest score of all time,  E.T. AT WORST, would be discussed.  Joker wouldn't even be mentioned or thought of.

 

 

Sure, but it doesn't mean they're right.

 

Yeah but the point is, standards are different. People have different opinions and nostalgia than you.

 

Who will be the members of this "official certified group?"  

[Bellosh 3,398]

4 minutes ago, Mephariel said:

Who will be the members of this "official certified group?"  

 

People who don't think Joker is worthy of being the greatest score of all time.

[Raiders of the SoundtrArk 2,429]

4 hours ago, Mephariel said:

Neither Göransson or Djawadi is anywhere close to the worst. Like what the heck is wrong with people here? The guy that wrote Creed 1 & II and Black Panther is the worst composer today?

I know there is far worse composers (like me who isn't able to compose a thing for instance ). I just think that among the well established composers today Göransson is the worst but that just my opinion. I don't fancy much his two Creed but I absolutely love his Black Panther and Community. Now you wonder why in the hell I don't like him then, well it's because of his infamous job on Venom, Tenet and the Mandalorian (second time in my life that I stop a show in the middle of a season, the last one was after the pilot of Legends of Tomorrow...)

[bored 306]

I'll say this about Djawadi. I've listened to and liked the scores of Transformers 1, 2, and 5 (by Jablonsky). They're not masterpieces, they're flawed as hell, and have a lot of generic o's modern Hollywood musical clichés in them, but to me it's like the film score equivalent of rock and roll, or metal. Just fun, simple, and energizing music. Same with The Dark Knight Trilogy, and the first 2 movies actually have a lot of substance thanks mostly to James Newton Howard. 

 

I've tried again and again to get into Djawadi. I really have. I've listened to many of his tracks from Clash of the Titans, Game of Thrones, and Pacific Rim. I've watched video essays analyzing the music in Game of Thrones. I am bored to tears every time I listen to his stuff. It's like milk-toast versions of Hans Zimmer's 2000s work, and Howard Shore's LOTR. His leitmotifs are simple to the point of frustration.

 

I remember being excited to listen to the dragon leitmotif, but my immediate reaction to hearing it was... that was it? 2 notes at a time as if I was listening to any post The Dark Knight Zimmer score. Compare that to the Dragonborn theme from Skyrim, Smaug's theme, or HTTYD's menacing dragon theme, and it looks even more pathetic in comparison. This example carries over to most of Djawadi's themes for me, completely underwhelming, derivative, and passionless. 

 

I don't think Djawadi is the worst composer out there today, but ultimately as forgettable as composers like Göransson, or Balfe. 

[Jay 37,319]

6 minutes ago, superultramegaa said:

I'll say this about Djawadi. I've listened to and liked the scores of Transformers 1, 2, and 5. They're not masterpieces, they're flawed as hell, and have a lot of generic o's modern Hollywood musical clichés in them, but to me it's like the film score equivalent of rock and roll, or metal. Just fun, simple, and energizing music.

 

Those were by Steve Jablonsky, not Ramin Djawadi

[bored 306]

I know, I was using them as an example to explain that I can enjoy RCP / Hans Zimmer influenced music. 

[Jay 37,319]

Ohhh

[Unlucky Bastard 7,782]

20 minutes ago, Jay said:

 

Those were by Steve Jablonsky, not Ramin Djawadi

 

They're the same guy

[Koray Savas 2,251]

11 hours ago, Bellosh said:

Nobody will be talking about Joker or that score in 40 years.

 

People will still be talking about E.T. though like we are now.

Can predict the future now?

 

There’s no measurable way to define “the greatest of all time” as OP claims. Art is subjective, and the likelihood that a score remains in the public conscious probably significantly depends on how well it succeeds commercially.

[Richard Penna 3,675]

49 minutes ago, Koray Savas said:

There’s no measurable way to define “the greatest of all time” as OP claims.

 

That's why I've been pondering over what exactly the OP is actually asking.

 

I suspect it's something along the lines of a score that captures the public to such an extent that it creates lifelong soundtrack fans, in the same way that SW and LotR did. But both of those had a perfect storm of elements which made them popular.

[bruce marshall 1,315]

almost everybody enjoys TRANSFORMERS.

It is a fun score.

nothing earthshaking , just well put together music!

[Bellosh 3,398]

1 hour ago, Koray Savas said:

Can predict the future now?

 

There’s no measurable way to define “the greatest of all time” as OP claims. Art is subjective, and the likelihood that a score remains in the public conscious probably significantly depends on how well it succeeds commercially.

 

Don't take all my these posts of mine too seriously.  Obviously I understand there's no way to measure it.

 

E.T. is it for me, that's all I wanted to share.

[Jurassic Shark 12,033]

13 hours ago, Bellosh said:

the greatest symphonies have been written.

 

That's a kind of sad view.

[Bellosh 3,398]

12 minutes ago, Jurassic Shark said:

 

That's a kind of sad view.

Do you think it's true?

[Jurassic Shark 12,033]

22 minutes ago, Bellosh said:

Do you think it's true?

 

I can't predict the future, but I can say I haven't finished my symphony yet.

[Raiders of the SoundtrArk 2,429]

3 minutes ago, Jurassic Shark said:

I can't predict the future, but I can say I haven't finished my symphony yet.

Symphony in E-Shark Major... Can't wait for that one

[Jurassic Shark 12,033]

Symphony No. 1: The Hunt

 

Movement 1: Hundred Kazoos are Better than One

Movement 2: Funeral March for All the Good Composers

Movement 3: Scherzo for too Many Notes

Movement 4: I Could have Done More

[Bellosh 3,398]

I figured you'd throw in a reference to Signs as well.

[Bellosh 3,398]

Do you believe the greatest score has been written @gkgyver ?

[Marian Schedenig 8,177]

Anyway, to try and get this back to the original discussion about the "best film score" and the general state of film music past, present, and future…

 

Many (most?) of use are here because we are *musically* interested in film music. To me, film music has traditionally been an extension or spin-off of classical music - opera is often cited as the most closely related genre (certainly in part because of Wagner's groundwork in narrative thematic writing, and Korngold's early successes in opera, which he then incorporated in the genesis of the Hollywood sound). But tone poems (cf. Richard Strauss) have at least as much claim (and perhaps Strauss' own most film like opera writing in Elektra are passages that happen in the past, or off stage, and are conveyed purely musically). There's stage music as well, which is essentially film music for non-films, although usually not as closely matched to the action. And there's narrative ballet: Prokofiev's Romeo and Juliet is perhaps the most film music like non-film work I've experienced, because at least in the John Cranko staging at the Vienna State Opera essentially plays like a silent film. The story and even details of the dialogue are silently acted out and purely (but totally understandably) narrated by the music, and the action sequences are perfectly timed (it is, after all, a ballet).

 

What at least almost all of these have in common is that they were written by composers who were composers first, "musical supporters" second. Tone poems, except for being based on an external source, were entirely constructed by the composer. In opera, at least the music and timings were the composer's doings, even if the libretto was written by someone else - but Strauss worked closely with his librettists, asking for dramaturgical changes and also discussing details of timing in relation to the stage descriptions (which is part of why I usually object to stagings that try to tell their own story at the expense (!) of the original conception), and Wagner (and some others) of course wrote their own librettos for full control.

 

Combine that with the first generations of film composers coming from a concert background and being "classically trained", and you got narrative writing that, like a good opera or ballet, tells and supports the story based on the story's narrative, yet absolutely were meant to also have enough musical merit to be able to stand on their own (here is where I most strongly disagree with Thor about film and stage music deriving its *musical* structure from the story's *narrative* structure and therefore having artistic worth when presented in this structure).

 

For decades, most films had room for this kind of score, partly because of their prevailing style, but also because of technical aspects: Originally the necessity of music because film had no sound besides the distracting noise of the projector, later because foley technology on its own could not yet reproduce real world sound extensively enough to be convincing on its own.

 

Compared to this "traditional" kind of score (which obviously dominated the Golden Age but was still prevalent until at least the 1990s), modern films do not "need" music as much as those of earlier decades did. They are often more "realistic" than earlier films, making a prominent melodic score stand out more and possibly distract. Also, films that go for a larger than life experience (and thus could support a more prominent score) are also usually littered with loud sound effects that leave little room for music that goes beyond basic rhythms or sound design (Harald Kloser once described his score for an action sequence in (I believe) The Day After Tomorrow and explained that basically the only thing he could do in it that would be at all noticeable in the sound mix was change the rhythm at key moments). At the same time, because they are less reliant on music, many films have not only stopped using the wall to wall scores that were fashionable for a while (at least for certain genres), but reduced the music even further to a few key moments, leaving little opportunity for actual musical development or a narrative music arc. The fact that fewer and fewer composer are "classically trained" these days (and that the mere idea of considering such a training not a strict necessity for all composers, but a major factor in the artistic success of most of the good ones, has a rather elitist and outdated aura now) also doesn't help in crafting a coherent musical work from these reduced opportunities, and here at least I am convinced that Zimmer and Co are, overall, less capable, and also less interested (or perhaps even aware) in these things than their predecessor. Goldsmith could famously take a 2 hour drama and spot it so sparesly that the score only began after one hour, totalled 30 minutes, and yet formed a substantial musical narrative from beginning to end, but I'd venture that most composers today lack the necessary training/craft/experience/call it what you will to perform at a similar level.

 

That's usually no problem for the films. A good film doesn't always need a good score, and a bad film, while perhaps made more tolerable (or even partially admirable) by a good score, remains a bad film (although it may give us a great score to listen to away from it as a byproduct). More importantly, a modern film can be supported by a score with no higher musical aspirations whatsoever. From what little I can remember, I consider Zimmer's Dunkirk high effective sound design, just not something musically relevant. Here we also come to the clash between "traditional" music and ambient music/sound design. I'm not generally a fan of the latter, but unlike some I don't automatically categorise it as a bad score - even when I don't find much musical relevance in it.

 

That kind of music (including some works that I like, more that I can appreciate, and many where I just don't see the musical merit) has its fans, of course, but I do wonder if there is something like an "ambient film score fan"? I.e. someone who specifically likes ambient film music, rather than just liking that sort of music in general, including those cases where it's been applied to a film? I wouldn't see the reason, or necessity, for it, at least (unless we're talking about people who like film music because of the films and the filmic associations the music triggers in them).

 

But "narrative classical film music", broadly speaking, as a sub genre of classical music, is something that has traditionally established certain characteristics that can easily "hook" people and turn them into "film music fans". I still argue it's not distinct enough from "classical" music for me to understand why some people like the one and not the other (unless you argue that film music is "easier" because it requires no attention span, which would roughly translate to the elitist claim that film music is artistically worthless because it lacks the structure of "true" classical music - a view which I obviously don't subscribe to), but it *is* distinctive enough to make people seek out more of the sort, *and* branch out into other forms of classical music as well. John Mauceri has argued the the Hollywood film score isn't late Romantic or post Romantic but in fact the peak of Romantic music. I would agree at least insofar that traditional Hollywood film music has for decades been one of the best areas for composers who wanted to write substantial orchestral music while still building on a mainly tonal, "Romantic" foundation (with still much room for avant-garde and modernism).

 

And for those of us who are fans of that approach in particular (which I'd argue is the closest that film music has come to a somewhat distinctly definable musical genre), I definitely would argue that current film music isn't "what it used to be": Because most films don't need it, because most studios don't want it, because many current films don't have the room, or the production process, for "fully musically developed" scores, and because as a result much fewer composers who have the necessary skill and craft are still actively working in this business. Those who do remain and may have what it needs to write scores that can compete, in "artistic merit", with the greats of earlier generations share a much reduced set of opportunities that call for such scores. On that count I would argue that the current state and the current trends of films and film music don't look so great for people interested in film music of the kind and for the reasons I ramblingly (sorry) described above. But who knows what new trends may appear in 10, or 20, or 500 years. Elmer Bernstein asked "Whatever happened to great movie music" in 1972 - and just look what the next couple of years brought.

 

[KK 3,307]

It's certainly a lot harder. And not because of the actual quality of the music, but the way music and films are consumed today. In the age of ADHD franchise movies and meandering hours of streaming miniseries, there just aren't as many truly "cinematic" moments that land and resonate with the public consciousness in a widespread way. There aren't anymore E.T. flying bicycles, Psycho shower scenes, Arabian deserts in 70mm, flying plastic bags in 90s suburbia or giant Balrog fights.

 

It's in those moments that film music is elevated to "all-time" status. No matter how good or bad the music might be on its own, it is inherently tied to how it creates "moments" with the film it scores. And even when modern films get close to achieving these moments, they drown it with sound effects, visuals or whatever that it just doesn't register in memory. 

 

There are exceptions of course, but consumption culture has really shortened the shelf-life of contemporary art (across most mediums). That's why 100 years from now, we'll still be touting on about John Williams and Beethoven, but will likely not remember anybody working today. And again, that has less to do with the actual musicianship of these composers and more to do with the world in which they create their music.

[Mephariel 451]

1 hour ago, KK said:

It's certainly a lot harder. And not because of the actual quality of the music, but the way music and films are consumed today. In the age of ADHD franchise movies and meandering hours of streaming miniseries, there just aren't as many truly "cinematic" moments that land and resonate with the public consciousness in a widespread way. There aren't anymore E.T. flying bicycles, Psycho shower scenes, Arabian deserts in 70mm, flying plastic bags in 90s suburbia or giant Balrog fights.

 

It's in those moments that film music is elevated to "all-time" status. No matter how good or bad the music might be on its own, it is inherently tied to how it creates "moments" with the film it scores. And even when modern films get close to achieving these moments, they drown it with sound effects, visuals or whatever that it just doesn't register in memory. 

 

There are exceptions of course, but consumption culture has really shortened the shelf-life of contemporary art (across most mediums). That's why 100 years from now, we'll still be touting on about John Williams and Beethoven, but will likely not remember anybody working today. And again, that has less to do with the actual musicianship of these composers and more to do with the world in which they create their music.

 

I agree with this. I remember the first time I saw the Brachiosaurus in Jurassic with John William's theme. That was unreal. Today's 100th dinosaur movie, not so much.

 

When was the last time a scene AND music floored you in recent years? I have to go back to 2014 when I saw the docking scene in Interstellar in the theaters. And then maybe The Amazing Spider-Man with the Spider-Man Jump and James Horner's "Saving New York" theme. But yeah, I honestly have a hard time remember when the last time I saw a show stopping scene elevated by great music.  

[Bellosh 3,398]

19 minutes ago, Mephariel said:

When was the last time a scene AND music floored you in recent years?

 

War Horse finale scene.

[gkgyver 1,645]

5 hours ago, Bellosh said:

Do you believe the greatest score has been written @gkgyver ?

Irrelevant.

Firstly, there has to be a best score ever up to this point purely because there’s always one best.

But secondly, whatever the best score up to this day is, the question is still can something equal or better be written today?
 

 

[Bellosh 3,398]

4 minutes ago, gkgyver said:

Irrelevant.

Firstly, there has to be a best score ever up to this point purely because there’s always one best.

But secondly, whatever the best score up to this day is, the question is still can something equal or better be written today?
 

 

 

Better yet, what do you think the best score of all time is

[bruce marshall 1,315]

1 hour ago, Bellosh said:

Mephariel said:

When was the last time a scene AND music floored you in recent years?

THE GREAT GATSBY

" All the bright precious.things.."

HTTYD

" the offering"

 

THE DARK KNIGHT

" A Dark Knight"

 

DAWN OF THE PLANET OF THE APES

" Prologue"

 

JOKER

" Becoming JOKER"

1 hour ago, Bellosh said:

 

War Horse finale scene.

I'd pick "plowing"😊

[Unlucky Bastard 7,782]

I like the bit in Godzilla: King of the Monsters where Ken Watanabe farewells everyone as he prepares to kill himself to revive Godzilla with a nuke. Terrific writing by Bear McCreary.

[bruce marshall 1,315]

1 hour ago, Unlucky Bastard said:

John Smith, 1882?

John Smith.

You know....

1 minute ago, Unlucky Bastard said:

I like the bit in Godzilla: King of the Monsters where Ken Watanabe farewells everyone as he prepares to kill himself to revive Godzilla with a nuke. Terrific writing by Bear McCreary.

You beat me to it!

Also the scene travelling through the underwater civilization!

GRAVITY

" Return to Earth"..

 

HATEFUL 8

" Main title"

" Lincoln Letter"

[gkgyver 1,645]

49 minutes ago, Bellosh said:

 

Better yet, what do you think the best score of all time is

Close Encounters Of The Third Kind

[Unlucky Bastard 7,782]

Great sound quality on that one.

[bruce marshall 1,315]

The brass is off key and you can hear the percussionist struggling to keep in time....

 

😛

[Unlucky Bastard 7,782]

Yeah it sucks

[bruce marshall 1,315]

Crap.

[Bellosh 3,398]

16 hours ago, bruce marshall said:

 

I'd pick "plowing"😊

 

Okay yeah that too.  'Plowing' is an all time cue for me.

[toothless 963]

I voted No. but this has nothing to do with current composers and their various styles. There are outstanding composers out there.

 

I voted no because the current process of film making itself inherently prevents any great score to be written (or heard). 

[bored 306]

4 minutes ago, toothless said:

I voted no because the current process of film making itself inherently prevents any great score to be written (or heard). 

I recently re-watched the HTTYD trilogy, and holy hell I did not realize how low in the mix the music was in those movies, especially the 2nd and 3rd ones.

 

I don't think they're the best film music ever made, but they're at least close to Star Wars caliber in many ways in terms of thematic continuity and satisfying development. It could have just been the particular movie files I had but man, was the mix bad on those. 

[HunterTech 987]

Yeah, that's an aspect we haven't really gotten to touch yet. Namely how much studio interference can get in the way of the project. From dictating the way the score should sound based on the temp or recent trends, to cutting up the score to shreds for the final edit, and as mentioned burying it in the mix. And given what has been mentioned about a lot of the newer filmmakers preferring more minimal styled music for their films, it almost seems like modern movies actively go out of their way to quell even hints of old fashioned film scoring.

[GerateWohl 4,343]

I would like to see a movement of filmmakers, something like the Dogma 95 group, that makes films just using classical or modern symphonies as score without editing the music. Just edit the film fitting the orchestra movements from beginning to end.

[Jurassic Shark 12,033]

Me too!

[Oomoog the Ecstatic 314]

Let's do it. I'll be the gaffer, and I don't remember what a gaffer is, but I figure you'll need one.