Why are film scores generally not as good these days?

[Greens]

I'm surprised that temp music hasn't been brought up as part of the problem. It is, for me, the main culprit. Snyder's 300 is the perfect example.

Films are edited with temp music, and it's so hard to see it without that specific music that they often ask the composer to replicate the same piece of music that's already there, limiting his options and creativity. Of course music can be an essential part of the editing process, but it also creates these problems often.

This approach definitely exists, but my problem with it being the main culprit is the fact that temp music has always existed. The original Star Wars movie had a temp track and some of the compositions John Williams cooked up are almost directly lifted from some of those tracks.

It can definitely be a problem, though. Danny Elfman has come out and said that he hates it when directors stay too close to the temp track and don't give him any freedom.

An argument that can be made for the director is that ultimately, they are the boss. As a composer you are hired to complete the vision of the director, not your own. You don't own any of the music you write, it goes to the studio when the job is done. It may not be creatively fulfilling that way, but it's the harsh reality of being a film composer.

 

[Greens]

Yea, TDKT scores and definitely pinnacle of modern approach to blockbuster scoring. Same goes for Man of Steel score or Inception, all Zimmer and Co.

Zimmer's approach is so ubiquitous that he's gotten some backlash from within the composer community for having a monopoly on the modern sound of film scores with his company Remote Control Productions.

People love him, though. I've seen him live twice with his amazing musicians in packed concert halls. I think to the general audience he may be the biggest composer behind John Williams.

 

[kguillou]

I love the Hans Zimmer sound, it has a certain epic grandiosity to it that I think is appropriate when we are talking "big summer blockbuster." which seem to be plentiful these days.

But even still, i would agree that there isn't as much artistry in film scoring these days, especially with smaller scale films. Music is so important in setting mood and atmosphere that i'd argue smaller films, like crime films, dramas, romance etc. probably need it more than the big movies do. My favorite movie soundtracks of all time are John Barry's beautifully sultry "Body Heat" score and Vangelis' "Bladerunner" score. You do not hear music in film like those two soundtracks anymore.

 

[Consona]

I'm surprised that temp music hasn't been brought up as part of the problem. It is, for me, the main culprit. Snyder's 300 is the perfect example.

Films are edited with temp music, and it's so hard to see it without that specific music that they often ask the composer to replicate the same piece of music that's already there, limiting his options and creativity. Of course music can be an essential part of the editing process, but it also creates these problems often.

I think we mentioned temp tracking here. The thing is, staying close to temp track means it gonna sound very similar, but it does not mean music itself cannot develop Williams style. You can have big bombastic strings brass drums sound, yet you can do something more symphonic with it.

Of course, but I meant that he's not blind to other potential approaches. He doesn't pigeon hole himself because he doesn't know that a score CAN be symphonic and out there. He just a personal preference as to how music functions in his movies. Interstellar is a movie where he chose to go extremely bombastic (TOO bombastic for a lot of people) because he thought it suited the material and what he tried to convey. That wouldn't have fit in The Prestige.

Yea, it was loud and huge, like Inception or TDKT, but with woodwinds this time, thank god t: but the main point stays. It didn't develop. Zimmer very much composes vertically, he layers much more than he modulates. And he recycles rather than develops. But I'd repeat myself...
I think his scores are the best modern scores, but it's great we still have Williams on Star Wars and that he gave us those fantastic Harry Potter soundtracks, etc. Williams' music is just... musical. t: It's not a bunch of string sustains and staccati arpeggios and blasting fortississimo brass with some synths above or below, it's a pure joy fest of orchestral artistry. He uses all the instruments and all the articulations and techniques and their full dynamic ranges and he develops themes and it's wonderful. And while I would not want Williams on Inception, I'd love more variety and inventiveness in the scores of those big films.

 

[Greens]

Can't say I disagree. I have a weak spot for that kind of music so I would definitely want to see it make a comeback.

 

[Consona]

Wau, the new Zimmer's track for Dunkirk is an epitome of the modern movie scoring vs the classic/old-school/golden era scoring.

It's a borderline sound-desing piece, without any stand out melody or elaborate horizontal progression all the classical pieces have, it's even further from the classic approach than his Batman or Inception stuff... Which doesn't mean I can stop listening to it. t: He's just able to make this kind of music work. Which is something his impersonators fail to accomplish. Plus he can come up with a very good melodies, which is another thing that separates him from them.

 

[TheFlamingCoco]

I actually think some of it has to do with the fear that the music would overwhelm the "moment."

Which is silly, because what would Jurassic Park and Star Wars and LOTR fully be without letting the music breathe through the film?

Aside from very good movies, of course