Canadian composer Mychael Danna is up for an Oscar tonight -- actually, two Oscars. Both for Life of Pi. They being 'best song' and 'best score'.
Mr. Danna has, a few times in the past, made it clear he does not like full-blooded music scoring in the movies. He's quoted in the current issue of the Toronto newspaper The Grid as saying something along much the same lines: "What film music used to be, a generation or more ago, was extremely manipulative and unsubtle, which is just so against my grain."
Fine. What I find is people who say such things -- and he is not alone in the current crop of film composers -- have that attitude because they themselves cannot write a simple melody. Yes, scores could be over-the-top in decades past but the music pushed buttons; made you cry and/or made your heart race. On average, music for the movies today is just orchestrations, nothing more. Yep, the 'parts' are there: The woodwinds have something to play, as do the brass, strings, and timpani. But there's no tune! I'm the first one to say that a film does not have to have a tune, or series of tunes, as it really depends on the flick's aspirations, but the continual lack of memorable and affecting melody is disconcerting... I think. Movie scores have always had 'orchestrations' but there was often a driving or floating melody which tickled or haunted the viewer.
I've met Mr. Danna (pardon the name-drop), he is a pleasant fellow. I just can't accept his take on scoring. He is letting so much get by him -- a chance to take the staff paper by the corners and sketch out some weaving melody. Be manipulative when required.
Music scoring is a vital emotional key in the motion picture language. Too many people in the biz seem to be embarrassed by affecting scoring. Admittedly, most people in the biz don't understand this neglected art. Dead on arrival.
2 comments:
Welllll..... I dunno. Having read your posts over the years, it seems that your reactions towards films are more often than not discussing the music score before anything. While sound is obviously an important part of the cinematic experience, film is after all a visual medium, and weighing too much on a music score is like buying Playboy for the crossword.
I forget which composer said it, but his theory was that a good music score is one that you don't notice. I can understand your sympathies towards film scores of late lacking a melody, but too often I think melody subtracts from the film experience. It too often has been used as a crutch for lazy filmmaking. In other words, "affecting scoring" makes one feel the emotions that the filmmakers neglected to in their visual interpretation of the material. For example, heard on its own, Vangelis' score for "Chariots of Fire" is emotional, atmospheric and cinematic in its own way. However, in combination with the visuals, the music is TOO overpowering. For one thing, the soundtrack is more visually stimulating than Hugh Hudson's drab direction, and only further calls to attention how overtly manipulative the film is.
Also, to lump Mr. Danna in with other composers who cannot write a melody, or to suggest that he should be, is a little unfair. Look at his film credits-- most of the stories he has scored are about atmosphere. In fact, if you listen to his Oscar-nominated song "Pi's Lullaby", it too is very cinematic without being melodic - he's hearing different notes.
Max Steiner said 'that'.
While a film's score is not the first thing I think about in a film, I will address if important. Scoring is the neglected art; producers and directors often don't know how to address the issue -- hence the overdone music in many films. By the way, there is music recording, and there is music mixing. Sometimes filmmakers, as you probably know, fall in love with a score and overdo the levels in the final mix.
Chariots of Fire is a good example... of a 'gimmick' score. I recently heard a BBC film show where the score for that film was discussed and praised. Hollow praise, perhaps.
Mychael Danna stays with films that he and his philosophy are suited. Oh, congrats to him for winning 'best score' for Life of Pi.
I agree with you on the point of film being a visual medium, but sound is here to stay, and music has a way of adding to the drama (or whatever). Last week I read an interview with composer Leonard Rosenman. He so nails it -- which I'll get into and explain once I get some time...
Thanks for your comment.
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