[–] BertieWooster 0 points 0 points (+0|-0) ago  (edited ago)

100% yes. The comments in that article are especially harsh on the man. Ennio Morrcone's legacy will be around for decades. However, I doubt that many of those commenters will be around to see it.

Fundamentally, Morrecone works in a world where the most dedicated enthusiasts probably number in the thousands.It's not a particularly large number, but it's one which houses the people that follow the inside baseball of film composers. So when you delve deep into the comments and find mention of Carter Burwell and Michael Giacchino, you realize how shockingly little these guys know about film music and film composers outside of the popular ones that work consistently with directors they know.

Morrecone isn't talking about Burwell or Giacchino. He's talking about Lorne Balfe. He's talking about Henry Jackman and Steve Jablonsky. He's talking about gun for hire composers that work through the Hans Zimmer production offices of Remote Control productions and the lack of creativity coming out of there besides the kind of stuff you hear as regurgitated versions of more popular scores. It's why Transformers: Revenge of the Fallen borrows heavily from Angels & Demons. Why Junkie XL's scores are essentially copy and paste riffs from Man of Steel layered over synthetic and simple melodies. Anyone can write these scores because they are written by a computer program. But a score like Phillpe Rombi's Angel, which is melodious and romantic, owing debts to classical Czech dances, is only popular in European and Eastern film scores.

So when Morrecone talks about directors being afraid of music, he isn't wrong. Peter Berg has made statements that echo the type of sentiments Morrecone is talking about. Things like He doesn't want fucking Danny Elfman music in his movies because it sucks. And that's how you end up with a Steve Jablonsky score for Battleship that samples an MRI machine, literally, as it's focal instrument and borrows the macho marches from The Rock and The Peacemaker.

You'll never get a classic score as long as directors are afraid to let composers like Howard Shore work their magic on a David Fincher film or Joel McNeely on a Marvel/DC comic book property. Shane Carruth's plonking about doesn't even come close to matching the sheer effort it took to compose John Powell's How to Train Your Dragon 2. And it's probably due to the sentiment that directors don't want to trust composers with the emotional aspect of their film. A score can make or break a film and can capture the emotional soul of it. If you typify the sentiments that directors like Peter Berg say and think music should just be wallpaper and generic, then your film score is going to suck.

And if you want to listen to the radically different approaches to film scoring just listen to a James Horner score like Apocalypto, The Missing or Glory and put it next to Lorne Balfe's Terminator: Genysis. They don't even compare. It's like a ballet compared to a limping Frankenscore through a Bulgarian forest, one shows a concerted effort to adhere to the vision of the film and the other is made of dead film scores to fit into the vision of a committee. Good film scores will display the complexity of their orchestrations while also telling you the story of the film. So, yeah, Morrecone is 100% right. But the only people who will be nodding their heads are the guys who listen to film scores as their main mode of popular music.