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Powell / Williams - Is the track good for Solo or should I put it to Mute instead?

Discussion in 'The RedBanned Bar & Grill' started by Tommi Uimonen, May 30, 2018.

  1. #21 Aaron Venture, Jun 7, 2018
    Last edited: Jun 7, 2018
  2. Hahaha!

    Ah f**k it. I’m buying the JW Masterclasses. Time for a deeper understanding of how shit I am.
     
  3. What I can't wrap my head around is: why? Why are so few modern composers capable of this? Was there a demand for it in film previously that led people like Goldsmith or Williams to be trained in this manner, or was it because they were deeply versed in relevant classical repetoire (chicken or egg)? If the latter, are there not composers coming out of conservatories (vs. universities?) being trained in this manner? It obviously takes forever to become great at it, but it's strange that it was far more common decades/a century ago.

    Also, for listening purposes, who were primary composers in film and in the "classical" repetoire throughout history that really had a grasp on this?
     
  4. Mike, I realize Shore doesn't score in this manner, and I realize his orchestrational and structural sophistication probably isn't at the level of Williams, but I'm curious to know what would be missing from his work for Lord of the Rings in this regard. The score is far more simple in some respects but still embraces a leitmotivic style and contains quite a few developments over the course of the films, despite singular pieces not having the token Williams approach. Not saying he could take over the role, mind you.
     
    Paul T McGraw likes this.
  5. Because they don't have to be to get the job and to get it done.
     
    Thomas Bryla likes this.
  6. #26 Paul T McGraw, Jul 11, 2018 at 3:31 PM
    Last edited: Jul 11, 2018 at 5:56 PM
    After reading "The Music of Lord of the Rings" by Doug Adams and "Hollywood Harmony" by Frank Lehman, I was compelled to re-evaluate my appreciation for Shore's Lord of the Rings compositions. The approach of Shore and Williams has more in common than I would have thought. And while I realize most will not agree with me, I would now rank the music of the six Lord of the Rings movies equal to the music of the first six Star Wars films.

    As to why current composers do not write in this manner, I expect that it is because directors and producers don't want it. But the real irony is that no movie is going to truly live in the public imagination without a great script, great acting, great directing, great editing, AND a great score. I have seen almost all of the Marvel movies and can remember nothing from any of them. I wish I had never seen Dunkirk. What a waste!
     
    Rohann van Rensburg likes this.
  7. #27 Rohann van Rensburg, Jul 11, 2018 at 7:20 PM
    Last edited: Jul 11, 2018 at 7:31 PM
    True, but surely there are composers in areas other than media who are in it for the craft? Or is that category largely saturated with the "contemporary" approach?

    I would agree here. I'm deeply curious about Mike's more in-depth thoughts and analysis in this regard as I clearly don't have a tenth the intuitive musical sense that he does (yet [I hope]), and while the orchestrational density and piece-by-piece structure is different with Williams the brilliant thematic content and development is there. It's clearly stood the test of time (so far) -- the complete recordings just saw another re-release and sold out (they're not cheap either), Doug Adams as well as many avid fans have websites and books dedicated to analysis and the symphony is still touring worldwide, and has been doing so for over 15 years now. Appropriately, the films were also done about as well as one could expect Hollywood to do with one of the most in-depth, greatest stories ever written.
    Mike DID say he'd listen to one film worth of music, though I think I may have sent him the complete recordings...the OST version is probably a better option.

    Isn't that the truth! I'm far more picky about what films I watch now, and avoid a great deal of what comes into theaters. Quite honestly my film watching tends to be primarily motivated by artistic inspiration, or almost exclusively who scored it. Wes Anderson still does no wrong by me (Isle of Dogs was great), and I'm finding myself far more inspired by artistic direction these days (that happen to contain at least decent music and great acting), even if they're kids' films (i.e. Coraline, Kubo, Isle of Dogs, Studio Ghibli films [mostly the Hisaishi scored films] etc). Lots of classics lately too: Alien, The Thing (late 70s version), etc. As it happens there tends to be more focus on music in kids' films.
     

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