Dark Age
So I was listening to a couple film scores of mine, Harry Gregson-Williams' Man on Fire and Michael Suby's The Butterfly Effect, and I came to a grim realization.
First of all, I love Harry Gregson-Williams. He is the brightest star in Media Ventures, and I love everything he's done. But something about Man on Fire bugs me. If not what Harry Gregson-Williams did, then what Tony Scott made him do. Watching the movie months ago, I noticed the music was eclectic Media Ventures, but I couldn't put my finger on the composer until I read the end credits. Being eclectic is good, but this score almost loses cohesion with itself. It's like a catalog of styles he can do. Normally, I'd say this is a good thing.
Parts of it are really original to this movie, the Mexican influences. Largely, the score is a more interesting take on the brooding background sound of Phone Booth. But Pita's theme is a little too close to Shore's Hobbit theme. One phrase of the theme, anyway (diatonic pitch values 3568753). Not enough to make me hate it, but enough to jerk me out of the moment in the movie, and enough to make me squirm if I listen to those parts of the score in the presence of any other human being. It's too close for comfort. I love it, though, don't get me wrong. Then there's one cue that is undeniably derived from John Powell's The Bourne Identity. Not to mention Lisa Gerrard's token appearance.
Basically, I'm saying this score seems to tell me that directors want anything and everything Media Ventures. Granted, this was Tony Scott. (Disclaimer: Tony Scott is still one of my favorite directors, right up there with his brother Ridley.) Overall, the score comes off as sounding like a bunch of temp tracks put in from other Media Ventures scores, not just Harry Gregson-Williams.
Now, for The Butterfly Effect. I loved the movie, and I listen to the score when I'm in the mood for it. The music very appropriately serves the film, but listening to it kind of annoys me. It doesn't annoy me as a listener, but as a film composer. Michael Suby's pretentious biography included in the score is what bugs me the most. He has some degree in film scoring, and this movie put him on the map. The best parts of The Butterfly Effect sound like James Newton Howard on a bad day. Mainly what bothers me is the fact that, in listening to this score, I think to myself, "I could have written this." I should take that as encouragement, knowing that I can do it now, except for the fact that I didn't write it. Some guy did.
With the fairly recent loss of great film music giants such as Michael Kamen, Jerry Goldsmith, and Elmer Bernstein, where is film music headed? Into the hands of a bunch of one-hit-wonders with "degrees" in film scoring like Michael Suby? Or Brian Tyler, who is already prolific only because he is always in the right place at the right time from a young age? What about all of us with at least as much talent and creativity who live in the American Midwest? Just because we've never been to Italy, and we've never conducted the Dresden Philharmonic or whatever, and we don't share overpriced cups of cappucino with famous directors in Los Angeles, doesn't mean we're a bunch of artless rednecks.
Dark times lie ahead in the world of film music. Until another hero arises, to remove the musical sword from the stone. Let's hope John Williams gets off his butt more often and shows these kids who's boss. "Help me, James Newton Howard, you're my only hope."
posted by the warrior bard at 8:34 AM
11 Comments:
I couldn't agree more with your sentiments. Andrea and I went to see The Brothers Grimm which was an unfortunate waste of my money and the Weinsteins' celluloid made all the more sad that it was directed by the great Terry Gilliam. The score bugged the crap out of me for 2 reasons. 1) The whole time we sat there I felt as though I could have written a score that was at least equal to it and 2) the theme is maddeningly close to Jerry Goldsmith's score for Paul Verhoeven's Hollow Man. This created the same level of distraction for me as yours for Man on Fire.
As far as HGW goes, I agree that he's the brightest star to emerge from the fifth circle of film scoring hell (Media Ventures, of course). His score for Kingdom of Heaven is gorgeous even if a lot of other composers' music wound up in the film (again, distractingly, some music of Jerry's from The 13th Warrior, another brilliant score and composition).
Trust me, it happens more than you think that I hear a film's score and think to myself, "God I could've written such a better score; even with that guy's themes". Oftentimes I think a monkey can write better music than some of the stuff that gets put on film.
Thursday, October 20, 2005 4:48:00 PM
One more thing. With fellas like those I know that want to do it, there may be a dark age ahead, but there's also a light on the other side of the darkness.
Thursday, October 20, 2005 4:49:00 PM
Media Ventures isn't as bad as you make it out to be on your blog. And I love Zimmer, and so do you.
But it seems MV has a monopoly going on...
Suddenly I'm sorry I posted in the first place... I don't have the energy to get into a dead-end argument about Media Ventures on my own blog... my next post will have to be all about clearing that up...
Thursday, October 20, 2005 5:36:00 PM
It's not really a dead-end argument. It's just that it's a comfort factor. When a director or a producer hires one of them they know exactly what they're getting musically. It's kind of like when James Horner gets hired to do pretty much anything. There's a certain level of comfort. A director/producer more-or-less knows what they can expect.
And yes I do like Zimmer (though I have a funny way of showing it). It's just that there's this seemingly inevitable quality of sameness to his music, you know? Batman Begins was little more than an inbred cousin to King Arthur (which I do like) which is only a stone's throw from being The Thin Red Line (another great score). Yes it's slick. Yes it's well-produced (because Bruce Fowler is one hell of an orchestrator - what is it with trombone players being great arrangers/orchestrators/composers?). Yes it's fun. But as a Composer there seems to be something missing in my ear. It's great driving music (2 points for the double pun). Yes I rip on the Media Ventures boys. A lot. Mostly it's because, at their worst, they tend to have this indistinguishable kind of quality that you can interchange their music and few would be much the wiser (we've had the Trevor Rabin discussion before).
Does this mean that they aren't capable of great things? Absolutely not. HZ has absolutely written some great music. Harry Gregson-Williams' scores for Kingdom of Heaven, Shrek and Sinbad: Legend of the Seven Seas are some of the most terrific scores written in years. John Powell's use of string orchestra and solo bassoon (and a ton of electronics)in The Bourne Identity was genuinely inspired. When given the chance to flex their muscle, they often do accomplish great things.
There's also the question of simplicity. And this goes for most of Hollywood. Sure, simple is good. Oftentimes, especially in film, it's the best approach. But sometimes a complex film cries out for a more complex score. My own intellect is crying out to be challenged on all levels by a film.
Ultimately, as we all know, Hollywood is mostly about big money and rarely about artistry.
I remember what Scott Smalley said during his orchestration workshop: "Familiarity breeds content".
Thursday, October 20, 2005 11:45:00 PM
But when you really take a good look, you find that Hans Zimmer actually is constantly developing his sound--at least as much as any other composer. I came to that realization recently, that Zimmer is, contrary to popular belief, always doing something new. Sure, he has the same vocabulary as he always has. But he's far from a one-trick pony.
Man on Fire was just all over the map. It said to me: "Hey, we directors want this because it's cool. It doesn't have to make sense with the rest of the score, as long as it's legal." Not to rip on Tony Scott.
(By the way, I find Batman Begins to remind me more of Mission: Impossible-2 with it's oscillating figure. Though the brass does sound like the samples in King Arthur.)
The bottom line is, I like Media Ventures. I like almost everything I hear by them. Is that because I liked one thing a long time ago and everything since sounds the same so I am going to like it by default? Absolutely not. It all sounds different enough. More so than... (you know this is coming)... James Horner.
I like the music, it speaks to me, it appeals to my spirit. It's cathartic. It means something to me. That is more than enough reason to call anything "good music." And that should be enough to defend it against some of these pretentious "academic" types, who are searching for some deep existential experimentalism to justify their role in the university and therefore the world.
The true irony is that, having been in grad school for over a year now, I have more respect for Hans Zimmer, and far less respect for Richard Wagner, Philip Glass, Pierre Boulez, John Cage, and Milton Babbitt. But this is another subject entirely, one that I don't need to get into on my blog. Why? Because I can't chagne anyone's mind with it, and they'll just end up commenting for the sake of arguing and making me look less "intellectual." When in fact, my reasons are perfectly sound, and grounded in intellect.
Uh-oh. I feel a rant coming on...
EJECT!!!!
Friday, October 21, 2005 7:09:00 AM
As someone who rejects strict academicism in his own music but enjoys the intellectual side of things I found myself being conflicted for a long time about the nature of my own work. I have learned that it is indeed possible to embrace all aspects of what I love about music and synthesize them into something both thoughtful, meaningful (I hope) and elemental ("Balance is key, Daniel-san").
I'm certainly not trying to insult your intellect (god knows if anyone outside your family knows how smart and thoughtful you are it's me). I'm not arguing for the sake of arguing. I argue because, like you, I care about the state of the art right now and realise that something like LOTR may have been a fluke in terms of H-town and that there are very dark times ahead indeed. I'm also not saying the music doesn't appeal to me. Let's put it like this: when you go to a Chinese buffet you don't expect to walk in and see nothing but fried rice and beef with broccoli on the buffet. A little variety. That's all I want. Like I've also said, I know this isn't entirely Hans' fault. There's this epidemic in Hollywood right now of most everyone sounding like everyone else (because there are too many directors and producers who don't understand how all aspects of film work together). There are a few who make it work on their own terms. John Williams, JNH, Danny Elfman and Elliot Goldenthal work well within the system and all have their own very distinctive sounds.
The guys you mentioned in your last paragraph all have their place in music history, too. But that doesn't mean that I would go listen to their music just for the fun of it. Though Boulez has softened his stances on some things of late and people are still sleighting him for those comments he made 50+ years ago. His recent music (that of the last 25 years or so) is actually quite interesting and oftentimes beautiful to listen to if you accept it on its own terms rather than the baggage that comes with the guy who wrote it.
Ultimately I'm a throwback. Somewhere along the lines in a piece of film I want a piece or two that aren't just "cues" but also well-constructed pieces of music. I think that most non-musicians/composers don't realise how important something like form and construction can be even in a piece of film music. For me everything has to be related formally in the music on film. Not just because it's good writing but because it unifies the film on a much deeper psychological level. Yes a hook is great. Nobody loves it more than me when a film has a great tune. But if you're able to develop an entire film's score out of very little material (I submit Signs) then it makes the whole so much better than the sum of its parts.
Ultimately you should rest easy, my son. Once you get out of academia you discover that you can find yourself being far less defensive about the music you write and enjoy (but you will suffer ME!!!). Current trends point to a time in the not so distant future where film music could potentially become "legitimized" alongside great pieces of classical music. There are many others like us out there who agree on these same points. Maybe not in the same exact way, but the future of film music is, in fact, in very good hands indeed. We just have to get over this current lack of individuality.
Friday, October 21, 2005 8:01:00 AM
First of all, I wasn't more complaining about some of the BS my colleagues gave me last year. They attack film music more out of ignorance than anything. It's trendy to attack John Williams and Hans Zimmer simply because they are successful. Lord knows you would never say some of these things about Williams.
By and large, this has subsided somewhat. Some of these antagonistic friends of mine are gone. Most of them, actually. (Apparently being a second year grad turns you into a dick. I hope I never fall into that trap.) Finally, I feel like I'm in a good place with the attitude here. That is to say, I'm doing my own thing, and to hell with anyone who is going to get in my way. Either help me, nurture my musical growth, and give me useful conversations, ...or go back to sorting tone rows, or whatever it is you think makes your music so much more intellectual. Just don't insult my genre.
I got tired of defending myself, until one day I realized I don't have to defend myself. Not all composers live in the same world.
As for the world of film music, I guess these spoiled-rich-kid-LA-film-scoring-degree-students-with-famous-conductor-fathers-who-get-them-into-the-industry can have their day in the sun, but most of them won't score more than one or two films anyway. Then again, neither will the rest of us, so it balances out. I just want a career I can enjoy.
I'm not too worried about the Michael Subys of the world. I'm not too worried about BGSU. I am slightly worried about the taste of film directors these days. As you said at the end of your comment, there is a lack of originality. Many film directors want the sound that everyone else wants. That usually means Media Vantures. And sometimes a non-MV composer is brought in to imitate it (at sub par quality, I might add).
This is all fine and good, and even understandable (from the commercial perspective). Zimmer is actually incredibly original and effective with the sound he created years ago. I mean, essentially rock-influenced Romantic music, combining male choir, low brass, and so much adrenaline and testosterone. This was fifteen years ago. Now, it's taken for granted, and it's considered old hat.
I don't consider it old hat, but I do think there's room for more styles than just that. Granted, with some directors, like Ridley Scott, it always works. But then every other film director wants Zimmer or Horner. Think outside the box, people. Once in a while, someone ventures outside their "comfort zone" and pushes the envelope, and we get incredible gems ilke Goldenthal's The Spirits Within, JNH's Signs, and Shore's LOTR.
Friday, October 21, 2005 10:38:00 AM
That Final Fantasy score is incredible! There are two reasons it got overlooked by the general public. 1)the film didn't do well and 2) gamers were pissed off that they didn't use the music from the video game. The music is good for the game, but I can't imagine it working in the context of the film. I can't believe I left that out. I think that might be his film tour de force. He's also living proof that a composer can have respectable parallel careers both in and out of the concert hall. He seems to have the attitude that "You're a composer so be a composer".
I also hope that I get the chance to go to LA to see the premiere of his opera Grendel next June.
Friday, October 21, 2005 1:03:00 PM
Nobuo Uematsu's music would really have no place within the same time zone as the film. I love the game music, but the character of the film is so much different. Sakaguchi should've just titled it The Spirits Within. The fans who were disappointed by the film have just gotten what they wanted all along: Final Fantasy VII: Advent Children, a CGI film sequel to the video game Final Fantasy VII. That has Uematsu's music, and it is just as dark.
Whether or not you like the film, Goldenthal's score is outstanding. It's one of the inspirations for my thesis. We need more film scores like that. I think the biggest problem is that composers are just never given enough time to output something as incredible. Or they do, and the director throws it out at the last minute and brings in Jamer Horner two weeks before the release date.
Directors need to have a better time table. If you want better music, have the composer working more in advance, and have them conceptualizing (yes, it's a word) during preproduction.
What really burns me is when people--snobby, stupid people--complain that a film composer doesn't do any of the "real" work, and they have teams of ghostwriters write the music for them. Um... that because there's only enough time to create, not orchestrate every detail yourself. That's a matter of physics. One person can't do everything in a month's time.
The other thing that burns me is when people (usually faculty) try to tell me horror stories of the life of a film composer. I know about all this stuff, but presenting it to me like every project is done in three weeks' time is inaccurate and... annoying.
Holy Cow. This blog is becoming just what I didn't want it to be, yet strangely satisfying. I've created a monster...
Friday, October 21, 2005 1:50:00 PM
The more I thought about it, the more I know you are right. I do like much of Zimmer's music and know that he is, in fact, constantly searching out new directions. The reason why the Hollywood music world is in such turmoil right now is because he's brought in all his cronies, many of whom don't know what they're doing, and these people wind up being pale imitatio of their master and it shows in the end result. Directors and producers think that's the way to go in order to add greater success to their films. I'm sure that some are acutely aware of the impact real music (and not just drum loops) can have on their films and use it in such a manner as to enhance their films and help tell the story.
Monday, October 24, 2005 9:34:00 AM
That being said, those films are fun because they don't take themselves too seriously. As a matter of fact the more over the top they could make it (at least in the case of The Rock or anything by Jerry Bruckheimer for that matter, including the "reality" tv shows he produces) the better. To me one of the most fun aspects of The Rock is that it has these ridiculous, over-the-top themes that a ridiculous, over-the-top movie should have. Where you start runnning into trouble is when you hear that sound in a 30-second commercial where you have no idea what's being sold (sounds like Con Air try new softer Charmin double roll!). It's that kind of accessibility and "we must move a thousand miles an hour" mentality that has permeated our society at its deepest levels that cheapens what was once a great, enjoyable, fun thing. I suppose there is too much of a good thing.
On a completely different (though not unrelated) subject, synth drum loops drive me mad. Maybe it's the "classical" composer in me, I don't know. At least old Hansie is using taiko now instead (of course, Timmay is going to remind me that he's been doing this for awhile. Yes. I know this. Man!).
Tuesday, October 25, 2005 12:29:00 AM
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