Comments on: Soundtracks #2 – Why Shit Films Can Have Great Scores

By: NRK Lydverket » Fra Nashville til Brighton uten trommis

NRK Lydverket » Fra Nashville til Brighton uten trommis — Mon, 19 May 2008 16:22:33 +0000

[...] av The Young Republic som spilte på Horatio’s Bar på Brigton Pier i helgen. Fiolinist Nate Underkuffler satt bak trommesettet, men det var helt tydelig at det var lightversjonen av bandet som med stort [...]

By: Soundtracks #3 - He was like “way”, and I was like, “No way, gag me with a spoon!” « Song, by Toad

Sun, 03 Feb 2008 23:07:11 +0000

[...] Soundtracks #2 – Why Shit Films Can Have Great Scores [...]

By: Soundtracks #1 - The Commitments & the Enthusiastic Amateur « Song, by Toad

Sun, 03 Feb 2008 22:47:02 +0000

[...] Soundtracks #2 – Why Shit Films Can Have Great Scores [...]

By: Nate Underkuffler

Nate Underkuffler — Sun, 03 Feb 2008 18:37:48 +0000

Thats very true about the composer-driector relationships, and Cronenberg+Shore and Elfman+Burton are perfect examples, in which the creative personality of both the director and composer compliment each other so very well. Not to mention when they work on a number of projects over the years their creative communication skills between each other can really develop. Same with a rock band.

By: Matthew

Matthew — Sun, 03 Feb 2008 17:09:05 +0000

C&B – I am inevitably going to have to mention Tim Burton and Danny Elfman here. Cliched I know, but still such a good pairing.

By: Ben

Ben — Sun, 03 Feb 2008 15:21:05 +0000

Chris

So so true. I remember being quite moved during a scene in ’8 Below’ (yes, the one about the dogs. I know, my brother in law was 9, I was being good)and couldn’t figure out why.

It’s so interesting to see a good film composer actually watch, the film and make reactive supportive music such as the score for Pirates. It takes the writer for artist to artisan. In the Pirates, he used the on screen to feed his composition brilliantly which for me is what makes is a great ‘soundtrack’ as well as great music.

One gripe. Too many computer strings and sampled orchestra’s. Grr. Pony up the money and pay an actual trumpeter you cheap Disney bastards!!!

By: Campfires & Battlefields

Campfires & Battlefields — Sun, 03 Feb 2008 14:56:05 +0000

At the same time, some of the best scores seem to come when there’s a real connection between a director and a composer. I’m thinking, for example, of the chemistry between David Cronenberg and Howard Shore that resulted in some truly harrowing scores in the 1980s like “Videodrome” and “The Fly,” as well as more recent nailbiters like “A History of Violence” and “Eastern Promises.” When the director has a very idiosyncratic vision, it seems that a score couldn’t work unless it’s written by someone who shares or at least can buy into that vision.

By: Matthew

Matthew — Sun, 03 Feb 2008 13:29:57 +0000

I love that people are interested enough to actually make a contribution themselves.

One other reason why dreadful films might end up with great soundtracks is one given by Julian when I interviewed the band last year is that the director may not actually know what he’s doing enough to control what happens with the score.

That way someone with a bit of talent, and I guess this feeds into Nate’s first point, gets more of a free ride to create something worthwhile, instead of being restrained by an inept or inexperienced director.

By: Divinyl

Divinyl — Sun, 03 Feb 2008 02:22:15 +0000

Tosh tosh and tosh Matthew! This is one of my very favourite music blogs…it’s great to read a voice, as opposed to just more rehashed drivel with no personality or emotion. You know I love it here!

By: Matthew

Matthew — Sun, 03 Feb 2008 01:47:42 +0000

Cheers Kiri, I am really delighted with this post. It’s shameful that all the best posts on this blog are by other people, but unfortunately it’s true. It’s largely what I was hoping for when I threw this open to everyone, that we might finally find some quality writing on Song, by Toad for a change. And we have.