A Score can make or break a movie...
- Thread starter Data Holmes
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Scores even used to be staples for TV series. "Dynasty", "Knight Rider", "The Twilight Zone" ... all had extremely memorable themes which many people know. Images would even be cut to the music sometimes and that time was also used to create a feel for the series and act as a way to take a person there before even watching a scene.
Now we are lucky we even get instrumental themes. Crappy songs, and even short pieces of nothing, like the theme from "LOST" or a short lived FOX series (I can't recall the name of it, but it was like 15 seconds of noise and THREE composers were credited for it...).
"Conan the Barbarian" was an okay film. Nothing really remarkable or special about it, and it certainly wasn't and still is not a major event in fitional movies, but the late Basil Poledouris' score really elevates it up to a new level. Bringing it a pounding wonderful theme, a soft touching theme, pieces that make the fim seem more than it really is.
"Tommy Boy" was a funny movie with a heart that was in the right place (something many of today's "comedies" lack). It certainly didn't need any help, but David Newman's score is appropriately light hearted and fun without being too mickey mousey. And even though Newman could have gotten away with making no themes, instead I count two themes for the film. fitting upbeat music for scenes where Tommy and richard try to mke a differences, playful touches for more comedic parts, and even some sad pieces for touching moments like Tommy in the boat talking to his dead dad.
Then of course we have crap like, well ... pretty much anything composed by Tyler Bates. Bates and the studio got sued over his score from "300" which ripped off not on, not two, not even three -- but multiple scores, from stuff by Zimmer, Goldenthal, and even Gabriel Yared's rejected score to "Troy". Really one whole cue -- not just a piece of it -- one almsot a complete ripoff of a ccue from Goldenthal's "Titus". You see his name attached to a film, you can be rest assured it will suck balls.
And there are even films where the score doesn't help at all, in fact it's in the background just as noise or just filler. A personal favorite comedy movie of mine is "Dirty Work". There's nothing good about the score, it's barely there, and it doesn't help the film any. Would have been different if someone like, say, George Fenton ("Groundhog's Day") scored it.
Or the recent TV series "Dollhouse" which has had bad scoring (so bad an entire episode passed by and couldn't actually recall hearing any scoring) by Mychael Danna and his semi-protege Rob Simonsen. Joss Whedon went from fan praise and Emmy's for the scoring on his various series, to ... this.
Even some TV and movie makers know a score is a good, and even have it parodied in their work. A classic example of a film score fan would be Seth MacFarlane -- creator, writer, and voicer of some characters on "Family Guy".
Both FG and "American Dad" regularly parody TV and film scores.
Both series use the same composers: Ron Jones ("Ducktales", "Star Trek: The Next Generation") and Walter Murphy ("Buffy the Vampire Slayer" [season 1]).
As many of you might not know, both composers are proteges of the famous scoring duo Mike Post and the late Pete Carpenter who did themes and scores to countless memorables shows, like "Magnum, pi" and "Hill Street Blues". Both Jones and Murphy did additional work on some of those shows, like "The Rockford Files" and "Magnun, pi" (for example).
FG has parodied the theme to Magnum twice. Also twice for "CHiPs" which Post & Carpenter scored a few episode of in season 1.
The A-Team, Qauntum Lealp, many more shows Post & Carpenter worked on both Jones and Murphy have parodied at some point.
Parody is a way of flattery, saying that what you did was soo good, we strill remember it to today and it was worth paying homage to. So the ultimate parody in FG came for the Part 1 episode "Stewie Kills Lois", right at the end. Why? Ron Jones was the composer for that episode. And guess what he was parodying? Himself! The scene was deliberately made to bit a little but like the end of Part 1 of the "Star Trek: The Next Generation" episode "The Best of Both Worlds". jones not only parodied his Locutus theme, but also his dramatic music that ended the ST:TNG episode.
For those interested, about two weeks ago Ron Jones launched his new re-designed site. It inludes a ton of unreleased scoring from shows like ST:TNG, "Family Guy" (including his parodying himself part), and even "DuckTales" -- check it out:
http://www.RonJonesProductions.com
Now we are lucky we even get instrumental themes. Crappy songs, and even short pieces of nothing, like the theme from "LOST" or a short lived FOX series (I can't recall the name of it, but it was like 15 seconds of noise and THREE composers were credited for it...).
"Conan the Barbarian" was an okay film. Nothing really remarkable or special about it, and it certainly wasn't and still is not a major event in fitional movies, but the late Basil Poledouris' score really elevates it up to a new level. Bringing it a pounding wonderful theme, a soft touching theme, pieces that make the fim seem more than it really is.
"Tommy Boy" was a funny movie with a heart that was in the right place (something many of today's "comedies" lack). It certainly didn't need any help, but David Newman's score is appropriately light hearted and fun without being too mickey mousey. And even though Newman could have gotten away with making no themes, instead I count two themes for the film. fitting upbeat music for scenes where Tommy and richard try to mke a differences, playful touches for more comedic parts, and even some sad pieces for touching moments like Tommy in the boat talking to his dead dad.
Then of course we have crap like, well ... pretty much anything composed by Tyler Bates. Bates and the studio got sued over his score from "300" which ripped off not on, not two, not even three -- but multiple scores, from stuff by Zimmer, Goldenthal, and even Gabriel Yared's rejected score to "Troy". Really one whole cue -- not just a piece of it -- one almsot a complete ripoff of a ccue from Goldenthal's "Titus". You see his name attached to a film, you can be rest assured it will suck balls.
And there are even films where the score doesn't help at all, in fact it's in the background just as noise or just filler. A personal favorite comedy movie of mine is "Dirty Work". There's nothing good about the score, it's barely there, and it doesn't help the film any. Would have been different if someone like, say, George Fenton ("Groundhog's Day") scored it.
Or the recent TV series "Dollhouse" which has had bad scoring (so bad an entire episode passed by and couldn't actually recall hearing any scoring) by Mychael Danna and his semi-protege Rob Simonsen. Joss Whedon went from fan praise and Emmy's for the scoring on his various series, to ... this.
Even some TV and movie makers know a score is a good, and even have it parodied in their work. A classic example of a film score fan would be Seth MacFarlane -- creator, writer, and voicer of some characters on "Family Guy".
Both FG and "American Dad" regularly parody TV and film scores.
Both series use the same composers: Ron Jones ("Ducktales", "Star Trek: The Next Generation") and Walter Murphy ("Buffy the Vampire Slayer" [season 1]).
As many of you might not know, both composers are proteges of the famous scoring duo Mike Post and the late Pete Carpenter who did themes and scores to countless memorables shows, like "Magnum, pi" and "Hill Street Blues". Both Jones and Murphy did additional work on some of those shows, like "The Rockford Files" and "Magnun, pi" (for example).
FG has parodied the theme to Magnum twice. Also twice for "CHiPs" which Post & Carpenter scored a few episode of in season 1.
The A-Team, Qauntum Lealp, many more shows Post & Carpenter worked on both Jones and Murphy have parodied at some point.
Parody is a way of flattery, saying that what you did was soo good, we strill remember it to today and it was worth paying homage to. So the ultimate parody in FG came for the Part 1 episode "Stewie Kills Lois", right at the end. Why? Ron Jones was the composer for that episode. And guess what he was parodying? Himself! The scene was deliberately made to bit a little but like the end of Part 1 of the "Star Trek: The Next Generation" episode "The Best of Both Worlds". jones not only parodied his Locutus theme, but also his dramatic music that ended the ST:TNG episode.
For those interested, about two weeks ago Ron Jones launched his new re-designed site. It inludes a ton of unreleased scoring from shows like ST:TNG, "Family Guy" (including his parodying himself part), and even "DuckTales" -- check it out:
http://www.RonJonesProductions.com
Scores even used to be staples for TV series. "Dynasty", "Knight Rider", "The Twilight Zone" ... all had extremely memorable themes which many people know. Images would even be cut to the music sometimes and that time was also used to create a feel for the series and act as a way to take a person there before even watching a scene.
Now we are lucky we even get instrumental themes. Crappy songs, and even short pieces of nothing, like the theme from "LOST" or a short lived FOX series (I can't recall the name of it, but it was like 15 seconds of noise and THREE composers were credited for it...).
"Conan the Barbarian" was an okay film. Nothing really remarkable or special about it, and it certainly wasn't and still is not a major event in fitional movies, but the late Basil Poledouris' score really elevates it up to a new level. Bringing it a pounding wonderful theme, a soft touching theme, pieces that make the fim seem more than it really is.
"Tommy Boy" was a funny movie with a heart that was in the right place (something many of today's "comedies" lack). It certainly didn't need any help, but David Newman's score is appropriately light hearted and fun without being too mickey mousey. And even though Newman could have gotten away with making no themes, instead I count two themes for the film. fitting upbeat music for scenes where Tommy and richard try to mke a differences, playful touches for more comedic parts, and even some sad pieces for touching moments like Tommy in the boat talking to his dead dad.
Then of course we have crap like, well ... pretty much anything composed by Tyler Bates. Bates and the studio got sued over his score from "300" which ripped off not on, not two, not even three -- but multiple scores, from stuff by Zimmer, Goldenthal, and even Gabriel Yared's rejected score to "Troy". Really one whole cue -- not just a piece of it -- one almsot a complete ripoff of a ccue from Goldenthal's "Titus". You see his name attached to a film, you can be rest assured it will suck balls.
And there are even films where the score doesn't help at all, in fact it's in the background just as noise or just filler. A personal favorite comedy movie of mine is "Dirty Work". There's nothing good about the score, it's barely there, and it doesn't help the film any. Would have been different if someone like, say, George Fenton ("Groundhog's Day") scored it.
Or the recent TV series "Dollhouse" which has had bad scoring (so bad an entire episode passed by and couldn't actually recall hearing any scoring) by Mychael Danna and his semi-protege Rob Simonsen. Joss Whedon went from fan praise and Emmy's for the scoring on his various series, to ... this.
Even some TV and movie makers know a score is a good, and even have it parodied in their work. A classic example of a film score fan would be Seth MacFarlane -- creator, writer, and voicer of some characters on "Family Guy".
Both FG and "American Dad" regularly parody TV and film scores.
Both series use the same composers: Ron Jones ("Ducktales", "Star Trek: The Next Generation") and Walter Murphy ("Buffy the Vampire Slayer" [season 1]).
As many of you might not know, both composers are proteges of the famous scoring duo Mike Post and the late Pete Carpenter who did themes and scores to countless memorables shows, like "Magnum, pi" and "Hill Street Blues". Both Jones and Murphy did additional work on some of those shows, like "The Rockford Files" and "Magnun, pi" (for example).
FG has parodied the theme to Magnum twice. Also twice for "CHiPs" which Post & Carpenter scored a few episode of in season 1.
The A-Team, Qauntum Lealp, many more shows Post & Carpenter worked on both Jones and Murphy have parodied at some point.
Parody is a way of flattery, saying that what you did was soo good, we strill remember it to today and it was worth paying homage to. So the ultimate parody in FG came for the Part 1 episode "Stewie Kills Lois", right at the end. Why? Ron Jones was the composer for that episode. And guess what he was parodying? Himself! The scene was deliberately made to bit a little but like the end of Part 1 of the "Star Trek: The Next Generation" episode "The Best of Both Worlds". jones not only parodied his Locutus theme, but also his dramatic music that ended the ST:TNG episode.
For those interested, about two weeks ago Ron Jones launched his new re-designed site. It inludes a ton of unreleased scoring from shows like ST:TNG, "Family Guy" (including his parodying himself part), and even "DuckTales" -- check it out:
http://www.RonJonesProductions.com
Now we are lucky we even get instrumental themes. Crappy songs, and even short pieces of nothing, like the theme from "LOST" or a short lived FOX series (I can't recall the name of it, but it was like 15 seconds of noise and THREE composers were credited for it...).
"Conan the Barbarian" was an okay film. Nothing really remarkable or special about it, and it certainly wasn't and still is not a major event in fitional movies, but the late Basil Poledouris' score really elevates it up to a new level. Bringing it a pounding wonderful theme, a soft touching theme, pieces that make the fim seem more than it really is.
"Tommy Boy" was a funny movie with a heart that was in the right place (something many of today's "comedies" lack). It certainly didn't need any help, but David Newman's score is appropriately light hearted and fun without being too mickey mousey. And even though Newman could have gotten away with making no themes, instead I count two themes for the film. fitting upbeat music for scenes where Tommy and richard try to mke a differences, playful touches for more comedic parts, and even some sad pieces for touching moments like Tommy in the boat talking to his dead dad.
Then of course we have crap like, well ... pretty much anything composed by Tyler Bates. Bates and the studio got sued over his score from "300" which ripped off not on, not two, not even three -- but multiple scores, from stuff by Zimmer, Goldenthal, and even Gabriel Yared's rejected score to "Troy". Really one whole cue -- not just a piece of it -- one almsot a complete ripoff of a ccue from Goldenthal's "Titus". You see his name attached to a film, you can be rest assured it will suck balls.
And there are even films where the score doesn't help at all, in fact it's in the background just as noise or just filler. A personal favorite comedy movie of mine is "Dirty Work". There's nothing good about the score, it's barely there, and it doesn't help the film any. Would have been different if someone like, say, George Fenton ("Groundhog's Day") scored it.
Or the recent TV series "Dollhouse" which has had bad scoring (so bad an entire episode passed by and couldn't actually recall hearing any scoring) by Mychael Danna and his semi-protege Rob Simonsen. Joss Whedon went from fan praise and Emmy's for the scoring on his various series, to ... this.
Even some TV and movie makers know a score is a good, and even have it parodied in their work. A classic example of a film score fan would be Seth MacFarlane -- creator, writer, and voicer of some characters on "Family Guy".
Both FG and "American Dad" regularly parody TV and film scores.
Both series use the same composers: Ron Jones ("Ducktales", "Star Trek: The Next Generation") and Walter Murphy ("Buffy the Vampire Slayer" [season 1]).
As many of you might not know, both composers are proteges of the famous scoring duo Mike Post and the late Pete Carpenter who did themes and scores to countless memorables shows, like "Magnum, pi" and "Hill Street Blues". Both Jones and Murphy did additional work on some of those shows, like "The Rockford Files" and "Magnun, pi" (for example).
FG has parodied the theme to Magnum twice. Also twice for "CHiPs" which Post & Carpenter scored a few episode of in season 1.
The A-Team, Qauntum Lealp, many more shows Post & Carpenter worked on both Jones and Murphy have parodied at some point.
Parody is a way of flattery, saying that what you did was soo good, we strill remember it to today and it was worth paying homage to. So the ultimate parody in FG came for the Part 1 episode "Stewie Kills Lois", right at the end. Why? Ron Jones was the composer for that episode. And guess what he was parodying? Himself! The scene was deliberately made to bit a little but like the end of Part 1 of the "Star Trek: The Next Generation" episode "The Best of Both Worlds". jones not only parodied his Locutus theme, but also his dramatic music that ended the ST:TNG episode.
For those interested, about two weeks ago Ron Jones launched his new re-designed site. It inludes a ton of unreleased scoring from shows like ST:TNG, "Family Guy" (including his parodying himself part), and even "DuckTales" -- check it out:
http://www.RonJonesProductions.com
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