Feels Like A Kiss-Ass Exercise

On 1.18.09 I described Doug Pray‘s Art & Copy, a tribute doc about legendary advertising guys, as “a little thin…a chapter-by-chapter history of the most admired ad campaigns of the last 45 or 50 years, each chapter with a flattering profile of the advertising exec (or execs) who dreamt each one up.”

I’m getting the same vibe from Matt Schrader‘s Score, which is being called “an insightful analysis of the art of film scoring, featuring in-depth interviews with some of the biggest composers in the business (John Williams, Hans Zimmer, Danny Elfman, Quincy Jones, Trent Reznor, Atticus Ross, Rachel Portman).”

Score trailer summary: They’re all geniuses, they all love what they do, nobody’s a hack and the inspiration is always humming at peak levels. Oh, the rapture and ecstasy of being a movie-score composer!

  • Dr. New Jersey

    Yeah, would a movie blog have any interest in movie music? I don’t even know why they have music in movies.

  • Brad

    The biggest successes as far as popularity and the number of blockbuster films in modern scoring are out of Remote Control the Zimmer scoring sausage factory, and they are mostly assuredly hacks. Ross and Reznor are also hacks that got lucky too. These are a generation of sound designer sonic wallpaper hacks, but like the bad CGI that is commonplace the modern film watcher’s ear has gone to tin, so it cannot tell the difference. When Gravity won the Oscar for best score a few years ago that cemented it as a fact, the days of Williams and Goldsmith and Rosza and such, those are long over. Gravity was an inconsequential and dramatically ineffective sonic wallpaper score, okay, maybe interesting as an experiment, but not a composition. not a score, and not a contributory part of the film narrative and emotion.