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'Old' composers vs 'new' composers...
Old 1st October 2013
  #31
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Quote:
Originally Posted by fallforward View Post
I wanna bring back Mancini and the choir where you could understand what they were singing. Saxophones, etc.

I love all types of music and will always provide what the client wants. But I have a soft-spot for the jazz influenced scores of the 60's.
Go back a little further for me- David raksin
Old 1st October 2013
  #32
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Quote:
Originally Posted by nnajar View Post
Go back a little further for me- David raksin
I agree with you in one word: Laura

Have a great night,
Old 1st October 2013
  #33
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I absolutely love Jonny Greenwood's scores for Paul Thomas Andersons films. PTA is a real virtuoso anyway and when you combine it with a truly modern score like the ones from 'The Master' or 'There Will Be Blood' - you've got something truly astounding.

I think he is a good example of modern orchestral scoring. It's a pretty perfect partnership.
Old 2nd October 2013
  #34
All orchestral music sounds the same to me. There isn't any real difference between old orchestral or new orchestral music. It's stuffy music made for emotional purposes.
Old 2nd October 2013
  #35
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Quote:
Originally Posted by Desire Inspires View Post
All orchestral music sounds the same to me. There isn't any real difference between old orchestral or new orchestral music. It's stuffy music made for emotional purposes.
Never come across an opinion about music I disagree with more.
Old 2nd October 2013
  #36
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Quote:
Originally Posted by jazz4 View Post
I think he (Johnny Greenwood) is a good example of modern orchestral scoring.
Off-topic a bit....

Really? Is that really modern orchestral scoring? He work always reminds me of the sound popular among mid-20th century academics. Even in film score, this has been approached before and was quite heavy during the 1960s and 1970s with guys like Goldsmith.

Don't get me wrong... I love it... but "modern" is such a loaded word. Is it really modern or just more of the atonal 20th century seeping into film.
Old 2nd October 2013
  #37
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the problem is imo the same as always: everything looks quite nice from the distant.

means: from the old days, everyone remembers Hermanns Psycho and Taxi Driver, Hayes Shaft, yeah, even Kojak (dont know who wrote the music), Williams' Star Trek, Schifrins Dirty Harry and Mission Impossible, and so on and on and on ... so thats is remembered, because it was simply good, great art, fantastic. but is this what was going on in all films in the past? no. never. the most of these were bad as are the mediocre films these days are. but these mediocre or bad films are forgotten, and so are tehir scores. sometimes you have them on any TV channel, and you wonder wtf did they think when they made this bull****.

in the 20ies, 30ies, 40ies etc making movies (big movies) was always about making money and entertain millions. no difference to today. Gone With The Wind wasnt l'ars pour l'art. it was business. so what???

times are always a changing ... so are the films, the scores, the writers and the audience. its always a time-thingie.

so I am on the side of the ones, that dont buy the pseudo-argumentation that disguises nothing than nostalgia.

is Sean Callery one of the "new" guys? fine, there you have it. his soundtrack for 24 was all synths itb done by him alone. does this soundtrack lack of any musical skills? any emotional affection? by far ... no. its as impressive as the soundtrack of King Kong (30ies of course ... although I appreciate Jessica Lange, but thats a complete different story and doesnt belong here ... :-)) and without an orchestra and with a human approach and deepes transporatation and underlining the actual imagery in the series.

so I would call the debate about old vs. new bull****. simply bull**** driven by some nostalgia-freaks, not to say too old freaks. in reality its like always good vs. bad, what a good movie should be about, btw. :-)
Old 8th October 2013
  #38
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Quote:
Originally Posted by Philososaxter View Post
I think my position is something close to this, although I wouldn't say that I "love" the new Batman-esque Hans Zimmery stuff. I was watching "Oblivion" the other day and was wholly underwhelmed by the "score"; it was entirely static and felt, much like the visuals, sterile (who knows, perhaps that was what they were going for?)

That said, I couldn't imagine "Tron" being scored any other way than it was. Thus, I think that the new stuff certainly has a place in modern cinema. Chances are however that I won't go out and buy those kinds of scores to listen to on their own.

FYI, my favorite scores to date are the Chronicles of Narnia scores. Perhaps I'm being influenced by my respect and admiration for C.S. Lewis, but man...the music just gets to me.
I think there are far too much music in today's movie. Instead of leaving more space for imagination, music is used to fill every space. The result is an overloud, overproduced, story lacking products. Today's movie is all about excitement, when the story or the scene is not leading you, the music takes over, and the elements are so congested that one can hardly breath. TRON is such a product and I absolutely hate it. Maybe the audiences love it, I don't know.
Old 13th May 2019
  #39
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The movie/film industry is far wider than Hollywood blockbusters.
Old 14th May 2019
  #40
Quote:
Originally Posted by Amber View Post
I've been checking out the VI Control forum. I just looked, nothing else I swear
That’s your first mistake. :-)
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