@William said:
ould you like to know how to get "The Hollywood Sound," all you would-be film composers out there? I'll tell you. First of all imitate Tchaikovsky, Richard Strauss, Rachmaninoff, Shostakovitch, Schumann, Stravinsky, Ravel, Vaughn Williams and Holst. And throw in some Korngold - the "Hollywood Sound" from Austria. Then smear a huge romantic orchestration all over simplistic, saccharine chord progressions. Make sure you write for large ensembles, when a single solo instrument would be sufficient or better. (Then you'll really know you're "hot" like one of your idol film composers - because you can write for ALL THOSE INSTRUMENTS!) Finally, add a large, thick dollop of nauseating reverb. Presto - you've got it. You have a bright future ahead of you with..."The Hollywood Sound."
Some of what you say isn't far off. Well said. And it was relaly funny if you were trying to be sarcastic. if not however,
just to defend some of the notions you have set in motion (should any of tehm be taken seriously by anyone), imitation is relaly not what film composers are intending to do, or if they must do it as a requirement they are simply poorly executing the notion. On the contrary, imitation is when the Hollywood Sound works at it's worst. Perhaps to the layman it sounds great, but for anyone who knows better, imitation when thinly veiled or forcefully interjected becomes cheap and amateur.
The use of sacharrine chord progressions is not doing anything for the State of The Art of Film Scoring, and I think you are only pointing out again, what is described as bad film scoring.
Writing for large ensembles instead of smaller ensembles is absolutely true, but to say that small ensembles could have been better is inherently describing a compositional method that is easily delapotated and weak in design and execution. Again you seem to be intimating that the Hollywood sound is about writing bad music or music which is served better in less commercial ways. This is not helping set teh bar of film scoring very high. Just because 99 out of 100 film composers are doing what you said, doesn't mean that the Hollywood Sound cannot be achieved whilst being musically superior to another iteration of itself in some other permutation of ensemble size or passage complexity.
Knowing one is "hot" by sounding close to an idol film composer is destroying all that makes a great film composer great. Number one, anyone who tries to resemble an idol is not composing original music. So instantly you can check them off as non-original composers. How does writing for all those instruments validate composer greatness. It does not. Again you seem to be implying that the Hollywood Sound is about simplistic things such as simply writing for a lot of instruments. I hear what you are saying, but it's more about writing in extremes, which can inherently cause the music to need many bodies to achieve a non-obtrusive sound in the extremes.
uh, nauseating reverb? A large dollup yes, but do we have to say that the Hollywood Sound is achieved when we add nauseating reverb? On the contrary, film music is more commercial in some respects than classical, and if anyone is the judge as to what's decreed as nauseating it's a mnajority vote by a jury of your peers. It seems that the people who enjoy film music enjoy the reverb present on the majority of albums. Economics of the business prove this true by design.
it may be true that anyone that adhere's to your rules may have a bright future ahead of them. But they certainly wouldn't be considered top of the calss by any means. Your mentioend techniques of achieveing the Hollywood Sound point to a more cliché, tired, unoriginal, immature, amateur style of scoring, admittingly being carried out by the majoroity of compsoers. however putting it to teh test of a jury of it's peers (moviegoers), it seems that the most money in movies is made from movies that are scored by composers doing everything that you haven't said, and coming out brilliantly. Jerry Goldsmith, Bernard Herrmann, Don Davis, Hans Zimmer, Vangelis, ... these are the guys who are at the bar of the state of the art of film composing, or close enough to be forgiveable.
But I generally don't listen to anyone who isn't a hypocrite. So unless you've written some of this crappy music you speak of, I don't take anything you've said too seriously. Generally I prefer those who have learned from their mistakes. So let's hear some of your "mistakes". I'll show you mine if you show me yours! [:)]
Evan Evans