I've read a number of people saying that sound sticks out like a sore thumb.
Scoring the new Star Trek series
- Thread starter Mudd
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I've read a number of people saying that sound sticks out like a sore thumb.
It is prominent, yes. It may indeed stick out, but because it is so unique, it doesn't sound particularly dated, at least not to me. The blaster beam was effective as a sound associated with V'ger in lieu of leitmotif.
I have read "The Making Of" by Stephen Poe Whitfield, the Shatner books, and the Solow/Justman book. Now, I'm heading to Star Trek Fact Check.
Yes, that's exactly what's being said and rightfully so. The idea of the books is great, but the execution is awful.
Neil
It was prominent even in 1979. I remember several people (who didn't give a rat's about film music) mentioning that after they saw the film in the theater.
ESPECIALLY in reference to the music.
This reminds me a theory I've come up with in recent years, which I have since nick-named the Harry Potter Score theory.
It spawned from test audiences opinion dooming a composer's score and getting it rejected.
Let's say you have a test audience watching a new Potter (any big franchise with distinct scores will do) and a good deal of them don't like the score (or in this case, don't like an instrument or synth sound they heard).
So what? It's not like them or anybody they tell the film about still won't flock to the theaters to plop down their money to see it. No person not into film scores is going to say, "Man, I was going to go see that Trek film but I hear it has a blasterbeam in it, so pass."
I know a lot of people were told to stay away from Ladyhawke because of the score. (Not me. I loved Ladyhawke.)
We all hated the score to Robocop 2, but it was also a terrible movie.
I don't know who all these people are you refer to from the "Robocop 2" sequel score and I've posted at score forums since the mid 1990's.
In regardles to that score, it's problems are two:
Regardless of what film it is from, score fans seem to be split on appreciation for Rosenman.
And the only real complaint was singing the character's name in the score: "ROOOBBBOOOCOP!"
Dead languages, wordless vocals, all acceptible, but when you start singing the hero's name you not only break the fourth wall, you create cheese that would rightfuly be taken to task in MST3000. Imagine Christopher Reeve flying around in "Superman: The Movie" to a singing chorus, "SUUUPPPERRRMANNN!". Or people singing during one of Khan's attacks in STII: "NA NA, NA KHHHAAANNN!"
Even the 1966 "Batman" movie didn't using the singing chorus, and especially within the film's score. Hell, the series didn't even do that -- only the opening credits had it. Yet somebody thought singing Robocop's name was a good idea for the score.
"Ladyhawke" failed because it just wasn't a good movie. According to the budget and the domestic gross, it lost two million dollars (rounded off). That's not because of some folks avoiding it because of a score.
In regardles to that score, it's problems are two:
Regardless of what film it is from, score fans seem to be split on appreciation for Rosenman.
And the only real complaint was singing the character's name in the score: "ROOOBBBOOOCOP!"
Dead languages, wordless vocals, all acceptible, but when you start singing the hero's name you not only break the fourth wall, you create cheese that would rightfuly be taken to task in MST3000. Imagine Christopher Reeve flying around in "Superman: The Movie" to a singing chorus, "SUUUPPPERRRMANNN!". Or people singing during one of Khan's attacks in STII: "NA NA, NA KHHHAAANNN!"
Even the 1966 "Batman" movie didn't using the singing chorus, and especially within the film's score. Hell, the series didn't even do that -- only the opening credits had it. Yet somebody thought singing Robocop's name was a good idea for the score.
"Ladyhawke" failed because it just wasn't a good movie. According to the budget and the domestic gross, it lost two million dollars (rounded off). That's not because of some folks avoiding it because of a score.
Maybe the problem was the composer expected the movie to be more ironically funny, rather than grim and nasty?
Superman is a good example of a movie theme tune where you can easily imagine it sung:
Look up in the sky
Fly-ing by
All people will cry
SU-PER MAN!
Pro-tecting us all
From e-vil
Always true, red and blue,
SUPER MAN!
Fly-ing by
All people will cry
SU-PER MAN!
Pro-tecting us all
From e-vil
Always true, red and blue,
SUPER MAN!
If you listen to the theme for Hammer's Dracula (AKA The Horror of Dracula), I think it's obvious that the rhythm of the main motif is based on the character's name.
I think score has a large but unconscious effect on people's reaction to films. The score for Man Of Steel was dour and plodding, and for all the praise it's received I found the Tron Legacy score similarly dull and disheartening.
(Apologies for doublepost)
Yeah. Give me John Williams' and Wendy Carlos' scores for the original films any day.
What about bringing back Cliff Eidelman? In my opinion, TUC had the best score of all Trek.
Or — and this may seem a bit more random, but hear me out — Joe Hisaishi (who scored many Ghibli films)?
Some examples
[yt]https://www.youtube.com/watch?v=6oD_b8239j8[/yt]
[yt]https://www.youtube.com/watch?v=Apk39Q_NO68[/yt]
Also, "Dog Fight," which I could not find, but it is also from Porco Rosso.
[yt]https://www.youtube.com/watch?v=htvqtiQVgao[/yt]
This one reminds me of the Romulans' theme.
[yt]https://www.youtube.com/watch?v=sRXKIXpgE8c[/yt]
Okay, I am officially amazed by how well-rounded this guy is.
Jung Ho Pak is one of my most fav symphony conductors not only for his brilliance with the baton but his love of Rock and Roll.
My first musical love is Rock. I play rock on my guitar. But if you want what appeals to a wider audience AND moves people emotionally you cannot improve upon classical music.
Sol Kaplan (TOS Doomsday Machine score) case in point.
Here's a little something I threw together using contemporary stars / production logo and a track from Fiddler on the Roof to make my point...
[yt]https://www.youtube.com/watch?v=u6Oa96oDek4&feature=youtu.be[/yt]
My first musical love is Rock. I play rock on my guitar. But if you want what appeals to a wider audience AND moves people emotionally you cannot improve upon classical music.
Sol Kaplan (TOS Doomsday Machine score) case in point.
Here's a little something I threw together using contemporary stars / production logo and a track from Fiddler on the Roof to make my point...
[yt]https://www.youtube.com/watch?v=u6Oa96oDek4&feature=youtu.be[/yt]
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Funny you mention Rosenman. I'm a fan of his work with the exception of ST4: Voyage Home. To me, that score played like the Star Trek Holiday Special, if you know what I mean. Rosenman's score for Fantastic Voyage was good 20th Century composition that worked well with the picture. I'm assuming Nimoy directed him to deliver the score he wrote, but I would have played it a bit less cute.
For me, the best feature scores were ST:TMP and ST:TWOK, after that ST5:TFF (score better than the film, particularly the Aaron Copland rip off at the beginning of the picture), and ST6:TUC
Horner's ST3 score was pretty good too. So, I guess, I like them all but Rosenman's, counting TOS crew films only.
Anyway, I really like the TOS style for scoring best. I think that could work today with a little less telegraphing of action and emotion. About 50% of TOS cues would work today in the same way that John Williams' music works for Star Wars films.
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