Originally Posted by DaneMcCloud:
So you've cataloged and judged all of his other cues over the years?
Film cues and themes aren't supposed to be stand-alone music. Sometimes, in the case of the "Star Wars" Opening Theme or "Jaws" the "Rocky" theme, the music transcends the film.
But that is certainly not the intent of the producers, director or composer.
I have a great many of his work. And I realize they aren't supposed to be "stand-alone music." And often times, the image makes the music that much better. I'll wait and see, as always, but from a pure musical standpoint, it's not as good as any of his others, in my opinion.
And it seems people are mixing up the song I do and don't care for and what I have and haven't said about. [Reply]
Originally Posted by GOATSE:
He did the "ROAR!" track from the end credits of Cloverfield. I wish they'd release it.
He's also replacing the legendary Jerry Goldsmith for Star Trek. We'll see how he does.
He and Abrams have a good working relationship. I'm betting it turns out like Speilberg and William's relationship. Both really dig working on eachother's work. [Reply]
Originally Posted by irishjayhawk:
I have a great many of his work. And I realize they aren't supposed to be "stand-alone music." And often times, the image makes the music that much better. I'll wait and see, as always, but from a pure musical standpoint, it's not as good as any of his others, in my opinion.
And it seems people are mixing up the song I do and don't care for and what I have and haven't said about.
Here's the thing with film scoring: Every cue can't be "Great". If every cue were memorable and amazing, then it would take away from the Opening, Closing and Main Themes. It would also make for a cluster**** of a bed track.
Additionally, subtly is required to make some scenes push or pull. There needs to be a dynamic in the score so that certain scenes really POP and other scenes are are affected by the music but they're not in your face.
Regardless, this may or may not be among John Williams' best work (and I'm leaning towards not). His actual involvement has declined over the past decade and he was many "Ghost Writers" that do the actual composition (though he certainly has input). [Reply]
Originally Posted by irishjayhawk:
He and Abrams have a good working relationship. I'm betting it turns out like Speilberg and William's relationship. Both really dig working on eachother's work.
It already is like that relationship.
Michael has scored everyone of J.J.'s productions and it will probably continue to do for the duration of their careers. [Reply]
Originally Posted by DaneMcCloud:
Here's the thing with film scoring: Every cue can't be "Great". If every cue were memorable and amazing, then it would take away from the Opening, Closing and Main Themes. It would also make for a cluster**** of a bed track.
Well, yeah, I know.
Originally Posted by :
Additionally, subtly is required to make some scenes push or pull. There needs to be a dynamic in the score so that certain scenes really POP and other scenes are are affected by the music but they're not in your face.
This is why I liked Schindler's List.
Originally Posted by :
Regardless, this may or may not be among John Williams' best work (and I'm leaning towards not). His actual involvement has declined over the past decade and he was many "Ghost Writers" that do the actual composition (though he certainly has input).
I'm sure he has ghost writers. He's got to be like 70 or 80. [Reply]
Originally Posted by GOATSE:
Hans Zimmer doesn't hold a candle to legends like Williams or Goldsmith. I heard all of his stuff is done on computers anyway. Dane?
Originally Posted by GOATSE:
Hans Zimmer doesn't hold a candle to legends like Williams or Goldsmith. I heard all of his stuff is done on computers anyway. Dane?
Well like most composer, Zimmer orchestrates everything in his home studio using computer samplers or specific orchestral libraries (Vienna Symphony Cube is the most popular software sampler).
For "Gladiator", he used 12 instances of a program called GigaSampler and had just as many computers slaved together. His sequencing software was a program called Cubase VST 5.1 (this was in 1999 - He's a Nuendo user now).
But for the most part, every film and television show you see these days with a budget of less than $60 million dollars use software samplers and Orchestral VSTi's for scoring.
Zimmer is one of the only guys who doesn't go into a full recording facility to record an orchestra for every project. [Reply]
