I'm the same way. Franke has some good moments, but on the whole I find his music to be pedestrian, and much prefer Stewart Coppland's score to "The Gathering."
LOL!! I'm not going to touch that one.
Bri![]()
I know. I'm one of the few. It must be the guitar-rip motif Copeland uses.
In fact, I even prefer some of the things done in the original "Gathering" over the remastered version and the series proper. Well, except for the pacing issue of the original edit, which is painfully slow.
However, the atmosphere created by the unique lighting choices and smoke I felt covered a lot of flaws in Iacovelli's set designs. Not only that but the music and the lighting, imo, gave a mood to all the characters that was missing from the series proper. I even like the original EA uniform designs.
I agree that Franke's music could be intrusive in the first season but later on there were points where it was just perfect. Sleeping in light was an example but there were many more, often the quiet moments where the music says what the actors are feeling.
Jan
SiL being one episode, and quite a few moments in Season 3 and 4 as well. "Zha'Ha'dum" being another well-scored episode.
My second favorite track by Franke is "Voices of Authority," a piece of which is used in the opening credits of season 5. My first, of course, being the SiL theme when the station... SPOILER.
You say that like its a bad thing.Franke always goes with the more obvious and loud operatic music that directs my emotions rather than compliment them. It tells me that I should feel "this" in a scene rather than enhancing the drama as it plays out. As Harvey states, it is intrusive, especially in the first season.![]()
Directing emotions has it's time and place, usually in melodrama, but I much prefer a more subtle way of audience manipulation. I don't like being told how to feel through scoring or dialogue. I'd much rather let the drama between the characters play and let my emotions feel with them not over them.
A perfect example is the farewell scene between Delenn and Sheridan. JMS was right in directing them to hold back the water works because it's much more powerful, and subtle, that way. I feel their anguish because I can it can see it behind their facades. The emotion isn't being overtly displayed by the actors; it's all kept behind the eyes. Moreover, the music does not intrude and crescendos at the perfect moment -- when they embrace. Franke's best work, as I said.
Another example where I feel Franke gets it right is when Londo is watching the Mass Drivers do their worst. Londo lowers his head and the music follows.
Don't get me wrong. I love bold, experimental music. The music of TOS. The music of nuBSG. The music of the LOTR trilogy. Franke's music certainly was refreshing from the blandness of ModTrek, but I felt he often erred on the side of overt opera.