What Non Composer Musicians Would You Like to Score a Movie

[dude stannis]

Werner Herzog with his harmonica.

 

[Elevator Man]

Double post

 

[dude stannis]

Goose would be awesome too.

[YT]gcyChmAMpjo[/YT]

 

[Elevator Man]

You do know that Danny Elfman, one of your favorite composers, intially started in a popular, new wave band called Oingo Boingo back in the 70's? And he's composed many successful scores for several popular movies?

I guess he should've stuck to albums and music videos, then, huh?

You should probably do more research before you post about something you don't know about. No offense.

I'll just quote myself from earlier. It shoud be obvious that I'm a Boingo fan and know about them with my user name. But I guess you guys need stuff spelled out for you.

Yeah no kidding Elfman started in a band where do you think I got my user name from.

[YT]BC_Lb2fpbZo[/YT]

So yeah I've known that for years he started in a band, but I became a fan of his film scores first. 3 years ago I finally got around to picking up their albums (the ones that are still in print)




I worded that carefully b/c I knew Elfman was from a band. He and his band even scored music to (Elfman's brother's) Forbidden Zone. Elfman, imo, has already proven that he's talented and in my book a real film composer. Who knows how to use an orchestra to his advantage. He's already proven that with Batman and many, many others. He's even tried his hand with writing music for an orchestra only (Serenada Schizophrana), as well as Ballet, Rabbit and Rouge (sp?), and the upcoming Cirque Du Soleil: Iris. So this man has grown a lot not just as film composer, but as a composer in general.

I can't see Trent Reznor, Daft Punk, RZA, etc, etc, etc, achieve what Elfman's has achieved.

 

[A Necessary Evil]

Once again, I'll repeat myself. It counts for everyone else, *except* elfman, correct?

Elfman branched out, what's the big deal of allowing others to?

 

[xwolverine2]

i want to see Marilyn Manson and Marco Beltrami work together again..
the Resident Evil score is one of the most underrated scores and easily one of my all time favorites.

 

[Elevator Man]

Once again, I'll repeat myself. It counts for everyone else, *except* elfman, correct?

Elfman branched out, what's the big deal of allowing others to?

Whatever. Hey I can't do anything about it if musicians believe they can score films. Then who's stopping them. They could do whatever they want. Just don't expect me to support them and like it. I was just giving my opinion on the matter.

 

[A Necessary Evil]

Nobody said you had to like it. I just want to know why it was okay for elfman, but should be outlawed for others.

 

[The Joker]

Nobody said you had to like it. I just want to know why it was okay for elfman, but should be outlawed for others.

Exactly.

 

[A Necessary Evil]

Exactly.

*In B4 filmscoring is dead*


I will, however, agree with EM, that TSN was not last year's best score. Still good stuff though

 

[redhawk23]

Yeah I know it's as fightening as the MV/RC crew taking over the film scoring industry, imo. Oh and about that oscar debacle. Yeah everyone knows the Oscars are full of it. That award should have been given to Powell's HTTYD. And Elfman's Alice score got robbed of a nomination. It's a sad. sad, freakin' world when Trent Reznor and Atticus Ross has an oscar for best original score, but Ennio Morricone, Alan Silvestri, Thomas and Randy Newman, James Newton Howard, and of course the Dan Man himself don't even have freakin one. What a joke that win was.



Yeah I agree some films call for it like the Blade films. As well as Stomp The Yard, You Got Served and all that other rubbish in that genre.



Yeah that's b/c he's a director and knows a thing about films and film music. Plus he knows what he wants with the music for his film that's why he composes them himself. He probably has the music in his head as he's directing and editing the film. And if I'm not mistaken his dad gave him a piano and taught Carpenter how to play it when he was a kid. So even thoiugh he knew little about composing film music he had an ear for film music. Bernard Hermann was the inspiration for his Halloween score. Even Morricone was an influence to some of his film scores. So weak example.



Nope I won't unclog my ears or open my mind, b/c they are fine as is. Film music don't need all that noise and rubbish from these bands and musicians. I want real film music. Oh and I'm glad Trent Reznor isn't scoring that Abe Lincoln Vampire Hunter. Again stick to music videos and albums. Leave film music to film composers who actually know a thing and a lot more about film music than these "musicians" and "bands" do.

you have an extremely narrow view of what "film music" is. and no not only crap films have a need for non orchestral music. also how are people who are in fact musicians, are highly skilled at a large number of instruments only "musicians"? once again you are being extremly close minded and narrow in your views. and how is carpenter a weak example? so morricone influenced his score? are you saying no other composer was influenced by morricone? how is a director who once learned how to play piano as a kid infinitely more qualified to write music than someone who has written 6 or more albums, worked with a large number of other musicians and who can play multiple instruments themselves? also reznors score was made in conjunction with a composer and the director of the movie, who as you noted know things about making films. the music in TSN wheather you thought it was award worthy, fit the mood of the movie and wasn't like Top 40 single or something. you're being extremely belittling and pretentious.

 

[redhawk23]

I can't see Trent Reznor, Daft Punk, RZA, etc, etc, etc, achieve what Elfman's has achieved.

30 scores that sound EXACTLY THE FRIGGEN SAME? like to the point of being a punchline?

the bit on Elfman in this video bascially sums up a large part of his work from the past 10 years.
[YT]bFzLRP8e4vE[/YT]

Look I actually like Elfman a lot, and to a point this vid is being a bit unfair, but its not entirely untrue. while he does do some different stuff for different movies, you act like hes the only possible person that could possibly ever be both in a band and be successful doing movie scores, despite other musicians also being musically trained and some even actually working with orchestras and writing orchestral arrangements for certain songs on their albums (since you seem convinced that orchestral music is the only music allowed in movies ever).

how do composers learn how to work with the needs of a film? by working with filmmakers. by gaining experience in working in films. how would this process be different if writers of other music did the same, as some do.


another thing, even when written by certifiable composers, not all movie scores use orchestras. I mean to begin with many were written to played on a single piano. And what about scores for films like Blade Runner or even the Terminator? They were mostly done on synthesizers. Even if you don't like it, the influence of of the Blade Runner score is still felt in many films, and the Terminator score, while not my favorite still features some instantly recognizable and memorable bits. Or what about the work of Georgio Moroder. The score for midnight run is awesome, as is his score he made for his edit of Metropolis. There are many people that enjoy the score Goblin made for the original Dawn of the Dead, and their "just a band."

You say like movie music as it "is," which assumes that what "is" and what it has been is just one long homogeneous succession of a single type of music. That's clearly not the case. But it is what film scores will become if new influences are not allowed to be brought in. Seriously seems like over the course of a year every damn film score is made by one of about 10 or so composers, or least its the case for big name films. it gets outright boring.

 

[Still Wynning]

30 scores that sound EXACTLY THE FRIGGEN SAME? like to the point of being a punchline?

the bit on Elfman in this video bascially sums up a large part of his work from the past 10 years.
[YT]bFzLRP8e4vE[/YT]

Look I actually like Elfman a lot, and to a point this vid is being a bit unfair, but its not entirely untrue. while he does do some different stuff for different movies, you act like hes the only possible person that could possibly ever be both in a band and be successful doing movie scores, despite other musicians also being musically trained and some even actually working with orchestras and writing orchestral arrangements for certain songs on their albums (since you seem convinced that orchestral music is the only music allowed in movies ever).

how do composers learn how to work with the needs of a film? by working with filmmakers. by gaining experience in working in films. how would this process be different if writers of other music did the same, as some do.


another thing, even when written by certifiable composers, not all movie scores use orchestras. I mean to begin with many were written to played on a single piano. And what about scores for films like Blade Runner or even the Terminator? They were mostly done on synthesizers. Even if you don't like it, the influence of of the Blade Runner score is still felt in many films, and the Terminator score, while not my favorite still features some instantly recognizable and memorable bits. Or what about the work of Georgio Moroder. The score for midnight run is awesome, as is his score he made for his edit of Metropolis. There are many people that enjoy the score Goblin made for the original Dawn of the Dead, and their "just a band."

You say like movie music as it "is," which assumes that what "is" and what it has been is just one long homogeneous succession of a single type of music. That's clearly not the case. But it is what film scores will become if new influences are not allowed to be brought in. Seriously seems like over the course of a year every damn film score is made by one of about 10 or so composers, or least its the case for big name films. it gets outright boring.

I tip my hat to you, good sir.

 

[A Necessary Evil]

30 scores that sound EXACTLY THE FRIGGEN SAME? like to the point of being a punchline?

the bit on Elfman in this video bascially sums up a large part of his work from the past 10 years.
[YT]bFzLRP8e4vE[/YT]

Look I actually like Elfman a lot, and to a point this vid is being a bit unfair, but its not entirely untrue. while he does do some different stuff for different movies, you act like hes the only possible person that could possibly ever be both in a band and be successful doing movie scores, despite other musicians also being musically trained and some even actually working with orchestras and writing orchestral arrangements for certain songs on their albums (since you seem convinced that orchestral music is the only music allowed in movies ever).

how do composers learn how to work with the needs of a film? by working with filmmakers. by gaining experience in working in films. how would this process be different if writers of other music did the same, as some do.


another thing, even when written by certifiable composers, not all movie scores use orchestras. I mean to begin with many were written to played on a single piano. And what about scores for films like Blade Runner or even the Terminator? They were mostly done on synthesizers. Even if you don't like it, the influence of of the Blade Runner score is still felt in many films, and the Terminator score, while not my favorite still features some instantly recognizable and memorable bits. Or what about the work of Georgio Moroder. The score for midnight run is awesome, as is his score he made for his edit of Metropolis. There are many people that enjoy the score Goblin made for the original Dawn of the Dead, and their "just a band."

You say like movie music as it "is," which assumes that what "is" and what it has been is just one long homogeneous succession of a single type of music. That's clearly not the case. But it is what film scores will become if new influences are not allowed to be brought in. Seriously seems like over the course of a year every damn film score is made by one of about 10 or so composers, or least its the case for big name films. it gets outright boring.

you have an extremely narrow view of what "film music" is. and no not only crap films have a need for non orchestral music. also how are people who are in fact musicians, are highly skilled at a large number of instruments only "musicians"? once again you are being extremly close minded and narrow in your views. and how is carpenter a weak example? so morricone influenced his score? are you saying no other composer was influenced by morricone? how is a director who once learned how to play piano as a kid infinitely more qualified to write music than someone who has written 6 or more albums, worked with a large number of other musicians and who can play multiple instruments themselves? also reznors score was made in conjunction with a composer and the director of the movie, who as you noted know things about making films. the music in TSN wheather you thought it was award worthy, fit the mood of the movie and wasn't like Top 40 single or something. you're being extremely belittling and pretentious.

 

[Franklin Richards]

I loved Knopler's <sp?> score for Princess Bride. Unforgiven was great as well. Can't recall the composer for that one.

 

[A Necessary Evil]

Lennie Niehaus.


No, that wasn't knowledge..I had to google

 

[Franklin Richards]

Great stuff. Love a good guitar soundtrack.

 

[A Necessary Evil]

Unfortunately, I have not seen the film, nor heard of the composer...but i'll have to check it out

 

[SuperFerret]

I find Elevator Man's opinion to be funny, since I basically feel the opposite. I prefer more popular music soundtracks to a flat score which, with the exception of horror or suspense movies, tends to just get lost in the background.

 

[Elevator Man]

30 scores that sound EXACTLY THE FRIGGEN SAME? like to the point of being a punchline?

the bit on Elfman in this video bascially sums up a large part of his work from the past 10 years.
[YT]bFzLRP8e4vE[/YT]

He's done a lot more than 30 scores. Do your research, buddy ? Oh and that video was lame. They really think that's how Elfman works. They can say whatever they want about Tim. I don't give a crap, but Elfman. Screw that. Oh and Elfman hates wearing suits. He only wears them at awards ceremonies or special occassions. Not during meetings with the cast and crew about Tim Burton's next movie. Please. Why don't you post the Family Guy clip ( you know the one where Elfman gets his head chopped off by a lightsaber) while you at it. If you believe that video. You'll believe anything some nut would put on the internet for a cheap laugh.

Yeah you're right about that video basically summing up Elfman's career in the last 10 years.
[YT]XZxzJGgox_E[/YT]

Yeah POTA sounds just like Milk. Alice sounds just like Red Dragon. Standard Operating Procedure sounds just like Meet The Robinsons. The Kingdom sounds just Like C&TCF. Spiderman sounds just like The Next Three Days. Hulk sounds just like Charlotte's Web(2006). Nacho Libre sounds just like Hellboy II. Wanted sounds just like The Wolfman. I can go on and on and on and on and on.

[YT]McAeQiLmEYU[/YT]

You obviously only pay little attention to Elfman's CBM scores and his Burton scores. So don't even talk to me about Elfman's versatility.

Look I actually like Elfman a lot, and to a point this vid is being a bit unfair, but its not entirely untrue. while he does do some different stuff for different movies, you act like hes the only possible person that could possibly ever be both in a band and be successful doing movie scores, despite other musicians also being musically trained and some even actually working with orchestras and writing orchestral arrangements for certain songs on their albums (since you seem convinced that orchestral music is the only music allowed in movies ever).

how do composers learn how to work with the needs of a film? by working with filmmakers. by gaining experience in working in films. how would this process be different if writers of other music did the same, as some do.

I'll admit my personal preference in film music (and music in general) is orchestral music.

another thing, even when written by certifiable composers, not all movie scores use orchestras. I mean to begin with many were written to played on a single piano. And what about scores for films like Blade Runner or even the Terminator? They were mostly done on synthesizers. Even if you don't like it, the influence of of the Blade Runner score is still felt in many films, and the Terminator score, while not my favorite still features some instantly recognizable and memorable bits. Or what about the work of Georgio Moroder. The score for midnight run is awesome, as is his score he made for his edit of Metropolis. There are many people that enjoy the score Goblin made for the original Dawn of the Dead, and their "just a band."

Oh I am open to synth scores. I'm a fan of most of Carpenter's scores (and even have a few of his scores on album), as well as Vangelis' Blade Runner (which I also have on album), and I'm a fan of Fiedel's Terminator scores. Like I said my personal preference is orchestral music. And you're right about synth music. They can work in certain films and not just orchestral music. Elfman's even done a few synth heavy scores himself. But Terminator and Blade Runner wouldn't probably be as effective without those scores that were written for them. So I agree that some scores can get away with synth if the film calls for it. But I was mainly expressing my opinion on these musicians and bands trying their hand into film composing.

I don't care much at all for these musicians and bands today. The only band that I was ever interested in was Oingo Boingo and that was years after I became an Elfman fan. So Elfman (the Elfman fans and Boingo fans praises of their songs) got me interested in his old band. I was very surprised how much I liked their songs. I've heard some Elfman fans claim they don't like Boingo, but only Elfman's film music. So I didn't expect to like it when I bought their first album.

Like I said I don't care much or at all for these bands and singers/musicians today. My preference is orchestral music, which is slowly and sadly becoming extinct in the film industry everyday.

You say like movie music as it "is," which assumes that what "is" and what it has been is just one long homogeneous succession of a single type of music. That's clearly not the case. But it is what film scores will become if new influences are not allowed to be brought in. Seriously seems like over the course of a year every damn film score is made by one of about 10 or so composers, or least its the case for big name films. it gets outright boring.

That's fine you guys want this . I was only stating my thoughts on this topic. Don't mind me. I don't want to get this thread off topic. I'll just go back to my "extremely narrow view of what film music is", while you guys continue to talk about ways for Hollywood to continue to destroy film music.

 

[A Necessary Evil]

He's done a lot more than 30 scores. Do your research, buddy ? Oh and that video was lame. They really think that's how Elfman works. They can say whatever they want about Tim. I don't give a crap, but Elfman. Screw that. Oh and Elfman hates wearing suits. He only wears them at awards ceremonies or special occassions. Not during meetings with the cast and crew about Tim Burton's next movie. Please. Why don't you post the Family Guy clip ( you know the one where Elfman gets his head chopped off by a lightsaber) while you at it. If you believe that video. You'll believe anything some nut would put on the internet for a cheap laugh.

Obviously, you don't get the joke / compliment in that. it's pretty obvious Seth MacFarlane is a fan of Elfman and Oingo Boingo as there have been a few Boingo references on Family Guy and American Dad.

I can go on and on and on and on and on.

I can hear some of spider-man in hulk.

I'll admit my personal preference in film music (and music in general) is orchestral music.

As is mine, what point are you trying to make?

I've been and always will be a huge elfman guy, but you need to hop off his dick. You're praising him, for essentially what your bashing others trying to do.

 

[Milu]

Please get over yourself, Elevator Man. Is a non-traditional film soundtrack really that poisonous to your enjoyment of a movie?

 

[redhawk23]

elevator man, I know hes done A LOT more than 30 scores. I wasnt saying that everything he does sound the same, i was saying that a number of them do. i agree, he is fairly versatile, but a lot of his stuff is very similar, just from his styling, which is the same for many compsers, even when making very different scores their are stylistic similarities. John Williams writes widely different stuff for different movies, but many times, you can absolutely tell that its John Williams. The same for many other composers. The problem I have is when so many films year in and year out are done by the same people. For one thing you have diminishing returns and even if not, it all gets a little bland.

 

[CashforStash]

I was gonna say Daft Punk...