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Behold Jerry Goldsmith's words and be quiet!

G.K.
(p5494ed73.dip.t-dialin.net)


  Responses to this Comment:
damonaz
Bob the Magic Hobo
Behold Jerry Goldsmith's words and be quiet!   Tuesday, July 25, 2006 (6:09 a.m.) 

QUESTION:
How has film scoring changed over the years?

JERRY GOLDSMITH:
It's amazing todayhow many dual composers there are. I never saw so many shared credits for composing before.

How many people does it take to screw in a light bulb? On a couple of occasions, I've had someone to share the burden with me. It was quite apparent why: the scoring schedule was impossible. I'm not ever going to do it again--doing it twice was quite enough. I've had enough flack for that and was never happy with it.

There are certain peole now where it's a factory--a couple of factories grinding out music, and I think it's despicable and ruining the art of film scoring.

The music sounds the same. It's a formula that becomes repetitious and is not ade with a lot of skill.

Here's a craft, an art that's been developed over years and years that's being demeaned for commerical purposes now.

Fortunately, not all filmmakers go for it. I also think scheudles have changed--they are very short now.

Orchestras and budgets are larger for music now. That's nice, but it can also be abused and taken advantage of. There are times we wante 85 or 90 musicians, but sometimes forty will do. Sometimes, composers' egos take over and it's a big track to stand up there in front of 90 musicians playing the music. Serving the film is our first consideration and the responsibility of all film composers.

QUESTION:
How elaborate are your electronic mock ups?

JERRY GOLDSMITH:

... There's a danger with these mock ups. I think they're wonderful, but there are many orchestral things and musical devices you cna't do on a computer ... It can become very dangerous when you limit your creative ability to what you can accomplish personally on a computer. I'm concerned with staying away from this.

I'll just write it out on paper likeI've been doing for 50 or more and be done with it. You have to balance this all out. That's why I find it's better to demonstrate the thematic ideas and the general overall approach with tehse mock ups, rather than try to demonstrate every single thing.

'nuff said.

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damonaz
<Send E-Mail>
(sansparlett.plus.com)

  In Response to:
G.K.

  Responses to this Comment:
Nick
Re: Behold Jerry Goldsmith's words and be quiet!   Wednesday, July 26, 2006 (3:02 p.m.) 

Beautifully put. I miss him immensely. Media Ventures is one of those factories he was talking about and I can't stand them. It's gotten to the point now that if i'm watching a decent movie with a MV score it ruins the film for me.

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Nick
(adsl-70-224-94-243.dsl.sbndin.ame
ritech.net)

  In Response to:
damonaz

  Responses to this Comment:
jimmy
Re: Behold Jerry Goldsmith's words and be quiet!   Thursday, July 27, 2006 (7:22 a.m.) 

I also miss Jerry. He'll always be my favorite composer and it seems like ever since he died that every score sounds the same. Media Ventures is seemingly monopolizing action movies (along with Marco Beltrami; another bad development) and there are no unique voices anymore.

Poledouris has disappeared. Goldenthal is writing his opera. Silvestri isn't taking on the projects he used to.

Hollywood is going to hell.

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jimmy
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.adelphia.net)

  In Response to:
Nick

  Responses to this Comment:
jeroen
G.K.
Re: Behold Jerry Goldsmith's words and be quiet!   Saturday, July 29, 2006 (7:44 p.m.) 

If a score like this ever gets an Oscar nomination for best score, then we're really doomed. But there are too many lower budget films with great music. And yes, Goldsmith was my favorite too.

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jeroen
(ip913585f5.adsl-surfen.hetnet.nl)

  In Response to:
jimmy
Re: Behold Jerry Goldsmith's words and be quiet!   Monday, July 31, 2006 (2:17 a.m.) 

True words.

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G.K.
(p5494d98c.dip.t-dialin.net)

  In Response to:
jimmy
We were already doomed when Gladiator went to the Oscars   Monday, August 7, 2006 (8:11 a.m.) 

> If a score like this ever gets an Oscar nomination for best score, then
> we're really doomed. But there are too many lower budget films with great
> music. And yes, Goldsmith was my favorite too.

True, but the catastrophe already happened with Gladiator. This just came to me since I wrote a review of it at amazon.com.

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Bob the Magic Hobo
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  In Response to:
G.K.
Re: Behold Jerry Goldsmith's words and be quiet!   Friday, August 18, 2006 (8:53 p.m.) 
• Now Playing: The Russia House  

> QUESTION:
> How has film scoring changed over the years?

> JERRY GOLDSMITH:
> It's amazing todayhow many dual composers there are. I never saw so many
> shared credits for composing before.

> How many people does it take to screw in a light bulb? On a couple of
> occasions, I've had someone to share the burden with me. It was quite
> apparent why: the scoring schedule was impossible. I'm not ever going to
> do it again--doing it twice was quite enough. I've had enough flack for
> that and was never happy with it.

> There are certain peole now where it's a factory--a couple of factories
> grinding out music, and I think it's despicable and ruining the art of
> film scoring.

> The music sounds the same. It's a formula that becomes repetitious and is
> not ade with a lot of skill.

> Here's a craft, an art that's been developed over years and years that's
> being demeaned for commerical purposes now.

> Fortunately, not all filmmakers go for it. I also think scheudles have
> changed--they are very short now.

> Orchestras and budgets are larger for music now. That's nice, but it can
> also be abused and taken advantage of. There are times we wante 85 or 90
> musicians, but sometimes forty will do. Sometimes, composers' egos take
> over and it's a big track to stand up there in front of 90 musicians
> playing the music. Serving the film is our first consideration and the
> responsibility of all film composers.

> QUESTION:
> How elaborate are your electronic mock ups?

> JERRY GOLDSMITH:

> ... There's a danger with these mock ups. I think they're wonderful, but
> there are many orchestral things and musical devices you cna't do on a
> computer ... It can become very dangerous when you limit your creative
> ability to what you can accomplish personally on a computer. I'm concerned
> with staying away from this.

> I'll just write it out on paper likeI've been doing for 50 or more and be
> done with it. You have to balance this all out. That's why I find it's
> better to demonstrate the thematic ideas and the general overall approach
> with tehse mock ups, rather than try to demonstrate every single thing.

> 'nuff said.

Amen.



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