Hi SvK,
well done! Sounds Great! Thanks for posting these. I loved them!
best,
Steve[:D]
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Nice job -though I didn't like the mockup #1 for some reason - the viola (?) sound was strange. Was that a viola section? It sounds way too dry and buzzy. The second mockup is good.
The Cape Fear was very good, though those high violins sounded too uniform in attacks. Anything too uniform screams "SAMPLED!"
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William... thanx for feedback..........I really like my composition in Mock-Up1.......concerning the celli/viola line.......I will listen again to tone....you may be right ;-) SvK
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I am studying a master.......MockUp1 is an example of those studies applied to my own cue.......... SvK
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Of course you realize I am just joking around with you Von. But all this Herrmannesque, while very interesting is not going to get you many pictures. You can't just do Herrmann style and just say - well, he's the master, because picture makers may have other ideas.
Whether anyone likes it or not - the day of Herrmann is long gone. You can't go back to that style because for one thing, music is very much part of it's time - and the way picture makers like Hitchcock and the studio system worked. Herrmann was predominantly a studio writer although this changed later in his career. No one wants Herrmann music over their films anymore. But do you know why? I will tell you why.
Because if anyone today had the genius, not to say the blood pressure to write just like Herrmann AND get that effect, most of the silly little films made today would sink under the weight of scores like that. That's why. In fact I would go on to say that some of the films in Herrmann's day, in fact sank without trace and only the score remains. You wouldn't get many offers if you wrote like Herrmann.
Kids today want orchestral music written in the pop genre style. Easy to follow chords and not too dark. Some horn rips are good though, but not too frightening. Easy on the ear with a good tune every now and again.
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Snake Eyes (hermann score) What Lies Beneath (Hermann Score) Ninth Gate (Kilar but dark) Dracula (Kilar but dark) Spy Game (sections parts) The Machinist (very Herrmann) i could go on SvK
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Von - you once thought you were wrong - and you were not mistaken in this case. I may yawn through this actually.
Ryuichi Sakamoto wrote for Brian de Palma - a Hitchock/Herrmann addict if ever there was one - and while Sakamoto wrote a nice score for Merry Christmas Mr Lawrence - Bernard Hermmann he ain't and never will be.
Robert Zemeckis directed some well known films such as Forest Gump and Back to the Future and used Alan Silvestri I believe to great effect. When a film like What Lies Beneath comes along and is an obvious bit of fun and a Hitchcock pastiche/tribute - who is Zemeckis gonna ask to do the score? Silvestri couldn't do Herrmann if his LIFE depended on it and that's fact - no more than Herrmmann could do a Back to the Future.
Ninth Gate - don't make me f****** laugh. Think Polanski and then think about that other film he did with Harrison Ford that attempted at the Hitchcock genre - forget the name. Ennio Morricone tried to do Herrmann and it sounded........strange. Edit: it came to me - Frantic (sounds a lot like Frenzy)
The Machinist is just dreadful anyway so forget that one.
Oh Hello!!! :))) Red Dragon. (Think Danny Elfman and then think - who is Elman's hero). Yess indeed - Bernard Herrmann (what a surprise)!
LA Confidential?!?!?!? LA Confidential!!?!?! (so amazed I wrote it twice).
LA Confidential is Jerry Goldsmith doing Leonard Bernstein doing On the Waterfront. PuLeasse Von - get some film study in before you come at me with lists again.
If you were my student (which it now looks like you are) I think this would be a case of Mr Spank paying short, sharp visit to Bottyland!
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Paul R. Sober up and we'll talk ...If you need an AA sponsor lemme know! Go write something. Put your money where your mouth is, you bloated windbag! SvK
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Alright Von.
You carry on writing Herrmannesque and continue to ask everyone what they think. But when they TELL you what they think - don't go round blaming me.
Your knowledge of film music and films in general is like most other people - it starts off poorly and gradually falls away. There's nothing wrong with your work at all actually - very good - it just won't get you anywhere very fast.
Film score music 99.999% of the time is copying all the contemporary filmscore writers that get a reasonably successful film - they tend not to copy Herrmann for reasons already given - mainly because they can't and because no directors really want it today. If you seriously are telling me you're going to get offered a film like LA Confidential - then confidentially I'd like to hear it here first.
So far from you all I've heard is Herrmannesque and Barryesque - what else have you got?
Money where my mouth is? Von - I don't need the money booby - you do! :))))))))))))))))))))))))))))))))()()()()())))))