COTW - Film muzac

[Lateralthinking1]

Well, there aren't, are there? There is a lot of adult language in certain films, just as there is on certain TV shows- The Sopranos, Game of Thrones,etc, but like there film equivalents, they're aimed at an adult audience, and on TV usually preceded by a somewhat superfluous warning- these shows are generally post watershed- and in the cinema by an 18 certificate. As long as such language is used in context, I do not have a problem with it. Amon Goeth's character using the F-Word in Schindler's List is perfectly believable, and it works in that context. The fact that he is more concerned about being cold than the plight of the Jews in the ghetto, many of whom freeze to death on a daily basis, is emphasised by his use of the word. Likewise, (and I know it's not a film, but it was filmic in scope), the strong language used in The Sopranos is entirely believable, because one does not believe that New Jersey mobsters would talk like Bertie Wooster.

I am not offended by strong language when it is used in context; what does pee off Mr Pee is when it is clearly used purely for effect, and to deliberately shock.

Adult or (post?)-adolescent? I happen to agree with you on context and even fully accept it as vernacular - ie The Commitments. What irritates me is that it is in every Hollywood blockbuster that is aimed at the so-called adult market. It is as if 33 F words are required to get through each waking hour whether it is a New York cop, a housewife in Seattle or a kindly old dear in Timbuktu.

I don't like the laziness in the dialogue, the lack of imagination is worse and what really annoys me is that it is like some old time religion only not as good. It is deeply conservative in every respect other than what it is or does. The worst offender is British. Four Weddings and a Funeral - but that is without a doubt the worst film that has ever been permitted to see the light of day.

(An ingrained establishment reaction against conservatism is....conservatism. Most people just don't get it - it's the fear factor!)

[Nick Armstrong]

With my "the BBC must maintain a standard" hat on, I can't get too wound up about this. Arguably, if they were going to choose a film composer, it should have been someone more left field to show that they aren't kowtowing to CFM. As it is, they are.

Returning to the specific subject of the thread, did I pick up that DM was interviewing Williams in Hollywood...?

Nice....

[teamsaint]

Endless casual violence in movies.
Just the pits.

[teamsaint]

Returning to the specific subject of the thread, did I pick up that DM was interviewing Williams in Hollywood...?

Nice....

is that the English hollywood, probably somewhere near Salford?

[Sir Velo]

Returning to the specific subject of the thread, did I pick up that DM was interviewing Williams in Hollywood...?

Nice....

Obviously DM hasn't been told about Skype.

[Paul Sherratt]

>>Endless casual violence in movies.
Just the pits


Beware 'Midnight In Paris', saint ...

[teamsaint]

>>Endless casual violence in movies.
Just the pits


Beware 'Midnight In Paris', saint ...

Thanks.

I shall heed your warning, and listen to some tunes instead.

[Flosshilde]

Returning to the specific subject of the thread, did I pick up that DM was interviewing Williams in Hollywood...?

Nice....

But not as nice (in my opinion) as his trip to Venice (the one in Italy, not Venice Beach

http://cloud.pleasetakemeto.com/photos/ims-united-states-of-america/v/venice-beach/gallery_678/venice-beach-28926.jpg

[Serial_Apologist]

The worst offender is British. Four Weddings and a Funeral - but that is without a doubt the worst film that has ever been permitted to see the light of day.

Get that man a drink. Make it two.

[jayne lee wilson]

Flossie and dovers points are valid for a large proportion of films, but the best film scores transcend this mere "background" effect: in a documentary devoted to Herrmann (who did write some very good concert pieces as well as his CotW-worthy film scores) the car scene from Psycho was shown without Music. This was a very dull 10 minutes. Then again with those strings - the hairs shivered down my spine!

Similarly with Scott of the Antarctic: the Music - unobtrusively, surreptitiously - created the tone of the film, giving those "stiff-upper-lip" performances a genuine depth of courage.

That sort of film Music is worthy of general praise and discussion. I don't like Williams' scores, but even giving him as much benefit of the doubt as I possibly can, too much of his music seems to me to be very "one-size fits all": the ET theme JLW cites could be swapped with the Music that accompanies Superman flying with Lois Lane; the dinosaurs in Jurrasic Park interchangeable with the Jaws theme. Fine for general purpose, and for the contexts they serve, but I can't take them away from those contexts.

Oh no fhg, NO! The Jaws theme is the sound of a fluid, hidden menace, not the striding magnificence of the Brachiosaur, or the predatory dominance of the T.Rex. Nor would it suit the various spiky accompaniments given to the raptors stalking the kids in the kitchen.

ET's flying bicycle melody, all bursting with childlike joy and the relief of escape, accompanying Superman and Lois in their unconsummated passion? NO WAY!

Last night I watched Jurassic Park, from the Helicopter's approach to the island through to Attenborough's "Welcome to Jurassic Park!" and the almost plaintive moans and groans of the Brachios and others at the lake. I was soon laughing and crying once again! OK - it just works for me, (and there's a collection of dinos in our conservatory where the potted plants should be...)

In Williams and Spielberg's best early collaborations, it's a sense of WONDER that is the heart of it; of delight in discovery, childlike rather than childish. That's what links Jurassic, ET and Close Encounters, but the scores are both indissolubly apt to the images and distinctive.

[Eine Alpensinfonie]

The worst offender is British. Four Weddings and a Funeral - but that is without a doubt the worst film that has ever been permitted to see the light of day.

I always thought that was Notting Hill.

[Lateralthinking1]

I always thought that was Notting Hill.

Isn't that the same film?

I agree with you Jayne on ET.

[doversoul1]

Oh no fhg, NO! The Jaws theme is the sound of a fluid, hidden menace, not the striding magnificence of the Brachiosaur, or the predatory dominance of the T.Rex. Nor would it suit the various spiky accompaniments given to the raptors stalking the kids in the kitchen.

ET's flying bicycle melody, all bursting with childlike joy and the relief of escape, accompanying Superman and Lois in their unconsummated passion? NO WAY!

In Williams and Spielberg's best early collaborations, it's a sense of WONDER that is the heart of it; of delight in discovery, childlike rather than childish. That's what links Jurassic, ET and Close Encounters, but the scores are both indissolubly apt to the images and distinctive.

Jayne
That’s because you heard the music with the film in the first place, not because the music has some intrinsic character or meaning about a flying bicycle. As I didn’t see the film, the music tells me nothing in particular. It can easily be about Superman or anything else for that matter.

And Jayne, I wouldn’t get too excited about Spielberg's childhood. It’s a confection to please adults or they wouldn't be so massively popular with adults. You wouldn’t want to be watching the reality of childhood which is most of the time being told by adults what not to do. Yes, of course children enjoy his films too because they are fun, not like their real lives.

Ferneyhoughgeliebte’s example about Psycho is interesting. I can imagine how unimpressive the scene must be without the music. On the other hand, if the music is played with no reference to the film to an audience who did not see the film, how interesting will the music be? I think this tells a lot about film music.

[Flosshilde]

Jayne
That’s because you heard the music with the film in the first place, not because the music has some intrinsic character or meaning about a flying bicycle. As I didn’t see the film, the music tells me nothing in particular. It can easily be about Superman or anything else for that matter.

And Jayne, I wouldn’t get too excited about Spielberg's childhood. It’s a confection to please adults. Why do you think his films are so massively popular with adults? You wouldn’t want to be watching the reality of childhood which is most of the time being told by adults what not to do. Yes, of course children enjoy his films too because they are fun, not like their real lives.

Enid Blyton's books are popular for the same reason (and Arthur Ransome's)

[Mr Pee]

Jayne
That’s because you heard the music with the film in the first place, not because the music has some intrinsic character or meaning about a flying bicycle. As I didn’t see the film, the music tells me nothing in particular. It can easily be about Superman or anything else for that matter.

And Jayne, I wouldn’t get too excited about Spielberg's childhood. It’s a confection to please adults or they wouldn't be so massively popular with adults. You wouldn’t want to be watching the reality of childhood which is most of the time being told by adults what not to do. Yes, of course children enjoy his films too because they are fun, not like their real lives.

Ferneyhoughgeliebte’s example about Psycho is interesting. I can imagine how unimpressive the scene must be without the music. On the other hand, if the music is played with no reference to the film to an audience who did not see the film, how interesting will the music be? I think this tells a lot about film music.

Whatever music we listen to conjures up our own individual emotional response, and indeed imagery, whether that be a Mahler Symphony, or a film score heard without the film itself. You say that because you didn't see the film, the music tells you nothing in particular. I suppose if you listened to The Ride of The Valkyries without any knowledge of its context, you could say it could be about Superman or anything else, or indeed that it tells you nothing in particular. That doesn't devalue its worth as music. The fact that when it is played with the visual element that it suits those visuals so perfectly is testament to the composer's skill. But take away the visuals and it is still music that is worth listening to. There is plenty of music which has nothing to do with film that is much less worth listening to than the music of John Williams.