Last month we spent time reviewing the Golden Globe nominated film scores, at the time I had only listened to one of them going in so it was a nice way to start (Film Score Friday: 'The Adventures of Tintin' by John Williams
Composer Danny Elfman has won a Grammy and an Emmy and earned four Oscar nominations with almost 80 film scores. On Oct. 25 at the W Hotel in Hollywood, THR film critic Todd McCarthy will present Elfman, 59, with the Billboard/Hollywood Reporter Maestro Award, previously won by Alan Menken, Thomas Newman, Hans Zimmer and Marvin Hamlisch. McCarthy will host a Q&A with Elfman and Sacha Gervasi, director of the Elfman-scored Hitchcock, due out in November. THR asked Elfman to reflect on his 27-year career and his biggest year, 2012.
During his 27 years in Hollywood, Hans Zimmer has produced hundreds of film scores, sometimes five or six in the span of one year. But what’s interesting about his work is that it’s become more eclectic and undefinable, not less, as his career has progressed. Listening to his more recent work on films such as “Inception” and “Sherlock Holmes,” there are few traces of the synthesizer-heavy material he made his name with in the 1980s, and remarkably, few similarities even between those two recent examples. But even with expectations for his score for “The Dark Knight Rises” looming large over his work for the forthcoming film, Zimmer told The Playlist that he’s not sure how much the score will share in common with its atonal predecessor.
A film's music is often considered a character itself, and this season the roles composers have to play aren't getting any easier. Talking about love between the emotionally unstable is one thing, but how, for instance, does that sound? Or when a character speaks to God, should God answer back with silence or an orchestra? And what of a period piece that isn't a period piece, or a piece that's six periods at once? Here we offer a look at just a handful of 2012's notable film scores.
We might now retrospectively qualify gaming soundtracks, but until recently they haven't objectively been as big a deal in gaming as outside of it. After all, if people relate music to anything other than the artist, traditionally it's to film. This is changing, and fast. Perhaps it's because maturity has now spread to all corners of the polygonal art that is videogame production. Perhaps it's because developers now give equal gravity to all possible aspects of a virtual experience. Or perhaps it's because teenagers like me grew up and, remembering those film experiences with perfectly pitched soundtracks, want to curate full-blooded experiences on their own terms.
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