Kent
sleepy member
Another ardent 'Bruckner-stealer' was Al Newman_googles “Bruckner who did he steal from”_
Another ardent 'Bruckner-stealer' was Al Newman_googles “Bruckner who did he steal from”_
Here is some excellent synthpop to get your mind of things:Its just the way I am sometimes. I yam what I yam. Ha
Walker did have formal training but never got her degree. At least that's what I have read.What is more funny is that others have said Bartek and Walker did a lot of the work because Elfman didn't have the formal academic or conservatory education. However neither Bartek nor Walker had that formal education which just rubbishes their whole premise.
Sounds like Herrmann was just stealing from Bruckner
I read she was self taught.Walker did have formal training but never got her degree. At least that's what I have read.
I think it's a loving ode to Herrmann. It works perfectly for the film too. The illusion of the sole music genius writing for film is just that; smoke and mirrors. Hollywood scores have always involved many people to get these films out. Elfman just got more grief because he was a rock guy and challenged the establishment. Clearly, he can score films. At this point, he's authored more than 100 film scores. His style remains consistent over the span of his career. If someone was ghostwriting for him, there would be less consistency.I never heard that piece before. That is a beautiful one.
Yup. We get that now. Well, I get that now. And people back then seeing shame in composing on synth/sequencers and getting the orchestration part mixed up with the actual composing.I think it's a loving ode to Herrmann. It works perfectly for the film too. The illusion of the sole music genius writing for film is just that; smoke and mirrors. Hollywood scores have always involved many people to get these films out. Elfman just got more grief because he was a rock guy and challenged the establishment. Clearly, he can score films. At this point, he's authored more than 100 film scores. His style remains consistent over the span of his career. If someone was ghostwriting for him, there would be less consistency.
Elfman in the late 80s and early 90s produced some truly outstanding scores (Batman, Edward Scissorhands, Dick Tracy, Nightmare before Xmas)
Even trained composers need help due to the deadlines imposed on scoring a film. I remember a story that Goldsmith would slave over doing full orchestrated scores for his tv work and finally he gave in to the studio who said "jerry, we have people on staff who can orchestrate your work".Yup. We get that now. Well, I get that now. And people back then seeing shame in composing on synth/sequencers and getting the orchestration part mixed up with the actual composing.
Which I assume many, then, mistook. Or consider those that can't orchestrate or conduct are not legit. That's bullshit to me. There should be no rules or regulations on ART.. or anyone to dictate what is and what isn't.
Elfman's response to Micah Rubenstein in Keyboard 1990 (I have the original issue actually) was "Ms Walker never received her degree in music and considers herself largely self-taught". She had some formal training, however.I read she was self taught.
I am now seeing just how intense and insane the soundtrack industry is. Sounds like a nightmare if anything. Definitely not something I would ever want to pursue or anywhere in the industry. Way too much drama and just....too much stress. Way too much stress.Even trained composers need help due to the deadlines imposed on scoring a film. I remember a story that Goldsmith would slave over doing full orchestrated scores for his tv work and finally he gave in to the studio who said "jerry, we have people on staff who can orchestrate your work".
There are so many things that go into scoring a film that takes time. having orchestrators and copyists is necessary and has been since the advent of Hollywood studio filmmaking.
I think it's a loving ode to Herrmann. It works perfectly for the film too. The illusion of the sole music genius writing for film is just that; smoke and mirrors. Hollywood scores have always involved many people to get these films out. Elfman just got more grief because he was a rock guy and challenged the establishment. Clearly, he can score films. At this point, he's authored more than 100 film scores. His style remains consistent over the span of his career. If someone was ghostwriting for him, there would be less consistency.
Elfman in the late 80s and early 90s produced some truly outstanding scores (Batman, Edward Scissorhands, Dick Tracy, Nightmare before Xmas)
Scissorhands and Nightmare are pure artistic beauty. Will forever be timeless.I think it's a loving ode to Herrmann. It works perfectly for the film too. The illusion of the sole music genius writing for film is just that; smoke and mirrors. Hollywood scores have always involved many people to get these films out. Elfman just got more grief because he was a rock guy and challenged the establishment. Clearly, he can score films. At this point, he's authored more than 100 film scores. His style remains consistent over the span of his career. If someone was ghostwriting for him, there would be less consistency.
Elfman in the late 80s and early 90s produced some truly outstanding scores (Batman, Edward Scissorhands, Dick Tracy, Nightmare before Xmas)
there is essentially one melody in that score and permutations of it. Modern film scoring is essentially arranging very basic melodic blocks using a lexicon of already done musical devices that work for the film. scoring is not making melodies That sound super sweet.well, actually, around the time Hans Zimmer started, that was considered cool as the audience was completely unfamiliar with any classical music in any way.I'm still thinking people who bash him are getting the actual "coming up with the full melody and structure" with the orchestration part. I have no issue with the fact he uses orchestration help. He openly admits it! If the others secretly wrote the melodies and everything and he lied about that, then I'd find that sad and messed up, and that's what people keep accusing. People like that Verta guy that I read on here, anywhere, and fans who used to be Elfman fans that go after us current fans.
And yes, Bartek was also in Boingo with him..and supposedly only took like 1 class of orchestration. My whole original question, which was pretty much cleared up, was are people like Verta confusing the rumors, as in the orchestration part as in the actual "writing the full melodies" part.