Trends in modern film scoring

[handz]

Video killed the Radio Star
And for a while, it seemed that Zimmer killed the Orchestra sound.

But I think that orchestra will survive in movie music, same as classical music itself is still here with us, it is part of our culture.

The lack of melody or if you want, preference of textures is here longer than I would think it will. I really don't like this movement - some of the stuff is cool, but I would be happy if the time invested into these scores would be used to make some cool standalone music where such an approach would be way more suited and could go even further with all the experiments.

For me, nothing beats good melodies or good dramatic writing for an orchestra (with occasional nontraditional instrument or synth). I like some synth-driven "80s" inspired scores for the movies which are from a certain era or a very retro sci-fi inspired. But for most parts - I think orchestras do way more for the overall impact of the movie than these soundscapes. Unless you really are into a very specific kind of filmography. And I really don't like this kind of film either. Heck, Lynch, one of the most crazy directors who got really big popularity among "regular" people used orchestra in practically all of his movies, and it worked like a charm. It would work even in Nolan's films, but he decided for soundscapes. In the end it works. And well, we are not normal people, we are soundtrack freaks, we care for music in film, people care about the film as a whole.

 

[marclawsonmusic]

I'm hearing in some media a shift towards smaller string ensembles, even just solo strings, paired with effects and synths. I am thinking of Sicario, Joker, Underwater, Dunkirk, Call of Duty Modern Warfare (2019 VG); these scores lay less emphasis on brass and woodwind (not to say there is none.)

Good observation!

 

[marclawsonmusic]

At a certain point, there's only so much storytelling you can do when you either barely use actual notes at all or you use the same 2-3 chord progressions in every single track you make. Film music is often little more than a four-chord pop instrumental arranged with orchestral sample libraries at this point. Of course that's fine sometimes, but I'd love to hear some semblance of a wider harmonic palette once in a while.

I understand. And I agree, but it doesn't really matter what we think, does it? There is a whole industry out there making movies and if you want to be part of it, you have to understand the economics of the thing.

In terms of 2-3 chord progressions and simple writing, these limitations can also be a challenge - a creative 'box' out of which you have to get a much mileage as possible. So maybe the key is to look at it almost like a puzzle - instead of complaining that you can't use every tool in your toolbelt, see how far you can get with just a hammer.

For my part, I am trying to understand the trends so I can figure out where I fit. I've spent so much time trying to learn orchestral music... but the demand is just not there right now for a Williams/Goldsmith/Horner/Silvestri orch-fest. It's passé. So the next question is... what are people actually making now? What kind of music is actually making it into finished films? That's why I made this thread.

 

[marclawsonmusic]

This is clearly dating myself plus it is recommended one treat it as a comment from the peanut gallery:

I think this is why we (as a group) tend to get so passionate when discussing film music. At some point in our lives, this kind of music touched us, so we really care about it and where it's headed.

 

[mscp]

"The world is changed. I feel it in the water. I feel it in the earth. I smell it in the air. Much that once was is lost, for none now live who remember it."

We have discussed ad nauseum the ways film scoring has changed. I don't want to debate what 'should be' or get nostalgic about the past or get emotional in this thread... I don't want to talk about what we like or don't like - I would simply like to discuss what is today - to identify current trends in film scoring. Feel free to share examples as you see fit, or contradict me if you feel my observations are incorrect. Please be polite!

Here is some of what I see:

Preference for textures
I think back to The Dark Knight and it was pretty drone-y, and I thought it was textural in many ways. But there were still plenty of motives / musical / tonal devices to latch on to. Today, it seems the pendulum has swung even further in the textural direction - even less tonal and more soundscape-y.


Including FX with the soundscape
Like hearing the wind in 'Interstellar' or the sands in 'Dune', the score sometimes has environmental elements incorporated.


Use of percussion
Along with the soundscape element, there seems to be an affinity for percussion. Beyond the pulsing synths and ticks, there are sometimes whole tracks that are basically a series of percussion motives over a drone.


Use of hardware synths
Nostalgia about the 'wall of synths' seems to have come back in recent years. I have seen all kinds of new synth products on the market and it seems every composer now has a rack of modular or vintage (or even NEW) synth gear.


Creating soundscapes from organic sources
Like what Hildur did in Chernobyl - recording raw audio that is linked to the story and finding ways to create a soundscape / texture from it.


Pitchbend
I feel like I've heard a lot of pitchbend effects in scores in recent years - like the string bend in 'Dark', or bendy synths in 'Blade Runner 2049'. Maybe this is related to the use of synths?


What other trends do you see?

It really depends on the kind of film scoring, but based on what I believe you're referring to, here's my 2 cents:

It's quite clear to me that the trend is based on distorted (dystopian), often aggressive rhythmic elements (both total and atonal). I left the the instruments and techniques used behind because instrumentation and tonality are only the means to an end, and can be crafted in a variety of ways, unless what you're asking to reflect on is the trends in tools/techniques used to achieve those.

 

[dcoscina]

I think this is why we (as a group) tend to get so passionate when discussing film music. At some point in our lives, this kind of music touched us, so we really care about it and where it's headed.

Nailed it.

 

[Alex Niedt]

instead of complaining that you can't use every tool in your toolbelt, see how far you can get with just a hammer.

I'm commenting as a music and film fan, not someone trying to get music into films. As a viewer/listener, I feel like no one's getting very far with the same hammer everyone else is using. I literally can't tell 98% of film composers apart at this point, and I actually find the paint-by-numbers clichés distracting. Pretty sure you could cut-and-paste tracks from one composer to the next into certain films without anyone knowing the difference. So I'd love to hear a trend in going against the grain rather than everyone trying to figure out how to sound like what's currently in fashion (totally aware that's not going to happen and the general public doesn't care either way).

 

[I like music]

but the demand is just not there right now for a Williams/Goldsmith/Horner/Silvestri orch-fest.

I think the audiences would accept the orch-fests. After all, they accept them enough in big budget films + we mustn't forget that a lot of streaming services easily allow us to watch older movies.

So I think even a younger audience is attuned enough to the traditional silver age type of stuff. I feel (though this is purely an anecdotal, outsider's view) that budgets (shift towards quicker/easier to produce music with tech?) has driven the new trend, not audience demand.

Maybe that's what you meant by demand e.g. producers, directors etc

Or maybe it is just wishful thinking on my part that another Goldsmith will pop right up in the next few years (another hopeless romantic here)

 

[I like music]

btw one thing I personally believe ... that the music should stand out. It should of course serve the film, but it should be damn noticeable!

 

[marclawsonmusic]

It really depends on the kind of film scoring, but based on what I believe you're referring to, here's my 2 cents:

It's quite clear to me that the trend is based on distorted (dystopian), often aggressive rhythmic elements (both total and atonal). I left the the instruments and techniques used behind because instrumentation and tonality are only the means to an end, and can be crafted in a variety of ways, unless what you're asking to reflect on is the trends in tools/techniques used to achieve those.

Very insightful - the dystopian / aggressive observation - those emotions... It really does make sense in a lot of cases.

Then there's this:


Which isn't really textural or dystopian or aggressive, but it does make use of synths and is fairly rhythmic / percussive.

This is probably the most popular TV / streaming show in the past couple years, so for sure it's considered 'modern' and 'fresh'. So, analytically, I'm trying to figure out 'why'.

I hear some synths, very basic harmony, a pulsing drum rhythm, and eventually the orchestra, which is presented in typical hybrid fashion. Maybe on a show like this, they are trying to reach two different crowds - younger people, who might be drawn in by the first part - and then the older folks who might get pulled in by the orchestra?

Or maybe all this analysis doesn't matter and we should be focusing more on how Ludwig got the gig - and just accept this as his aesthetic. That's probably closer to reality.

 

[I like music]

Very insightful - the dystopian / aggressive observation - those emotions... It really does make sense in a lot of cases.

Then there's this:


Which isn't really textural or dystopian or aggressive, but it does make use of synths and is fairly rhythmic / percussive.

This is probably the most popular TV / streaming show in the past couple years, so for sure it's considered 'modern' and 'fresh'. So, analytically, I'm trying to figure out 'why'.

I hear some synths, very basic harmony, a pulsing drum rhythm, and eventually the orchestra, which is presented in typical hybrid fashion. Maybe on a show like this, they are trying to reach two different crowds - younger people, who might be drawn in by the first part - and then the older folks who might get pulled in by the orchestra?

Or maybe all this analysis doesn't matter and we should be focusing more on how Ludwig got the gig - and just accept this as his aesthetic. That's probably closer to reality.

First time I heard The Mandalorian, I was borderline repulsed.
Now? I absolutely love it...

I won't even try to analyse why, because I don't know. Maybe because there is that recognisable and 'definite' melody (whatever that means). And enough orchestra to satisfy that itch.

 

[mscp]

Very insightful - the dystopian / aggressive observation - those emotions... It really does make sense in a lot of cases.

Then there's this:


Which isn't really textural or dystopian or aggressive, but it does make use of synths and is fairly rhythmic / percussive.

This is probably the most popular TV / streaming show in the past couple years, so for sure it's considered 'modern' and 'fresh'. So, analytically, I'm trying to figure out 'why'.

I hear some synths, very basic harmony, a pulsing drum rhythm, and eventually the orchestra, which is presented in typical hybrid fashion. Maybe on a show like this, they are trying to reach two different crowds - younger people, who might be drawn in by the first part - and then the older folks who might get pulled in by the orchestra?

Oh, but this is quite offbeat I believe...not really a trend, is it? I don't know. I don't watch TV much.

Would you kindly have a few other references that match something like the clip you shared? I'd love to watch them to try to analyse.

Or maybe all this analysis doesn't matter and we should be focusing more on how Ludwig got the gig - and just accept this as his aesthetic. That's probably closer to reality.

Oh, it does matter! A lot! Following a crowd makes sense in the economics side of things, but doesn't bring anything to the evolution of a craft, which often is one of the detrimental aspects of an industry.

 

[Faruh Al-Baghdadi]

The main trend is total, absolute death of theming.

When was the last time you've heard a theme in OST as good as Robocop, Terminator, Star Wars and so on? These soundtracks have an amazing core(a theme) and an outstanding, unique and, what's equally important, full development. Just listen to Robocop main theme. It's just 3-4 minutes, but it has everything - an intro and outro, easily distinguished themes(a few of them in this short piece!), good variations, preparations for every section and finally beautiful orchestration.

I don't know why it's happening/happened, but I deeply, deeply, deeply hate it.

All these trends you've noticed can be put into a "Throwing dust in the eyes" category. It seems like actual composing was taken out of the process of... Composing. The only guess I can come up with is deadlines that are too short at this point. To create a theme and to develop it you need time, you need to literally grow it in your brain, to learn it and change-change-change until it's good enough for final record. What's even more interesting is that back then people didn't have DAWs and libraries, which means it was muuuuuch harder to compose,to make try-outs. Maybe it's one of the reasons why? People were doing what they were supposed to - combining noted and instruments instead of endless messing with millions of libraries and VSTs, templates and tutorials?

 

[Kent]

The main trend is total, absolute death of theming.

Interesting take. Have any data to back this up?

 

[Faruh Al-Baghdadi]

Interesting take. Have any data to back this up?

I need to ask my Analysis and Infographics Department.

 

[marclawsonmusic]

I need to ask my Analysis and Inphographics Department.

Sarcasm acknowledged, but the 'total, absolute death of theming' is a debatable topic and really belongs in its own thread. Please start your own.

 

[marclawsonmusic]

Would you kindly have a few other references that match something like the clip you shared? I'd love to watch them to try to analyse.

I've got nothing, sadly. I've been in the woodshed the past few years trying to figure out samples and orchestration. I heard everyone loves this new Star Wars spinoff and decided to check it out this afternoon. First time I heard it!

 

[Faruh Al-Baghdadi]

Sarcasm acknowledged, but the 'total, absolute death of theming' is a debatable topic and really belongs in its own thread. Please start your own.

...I would simply like to discuss what is today - to identify current trends in film scoring. Feel free to share examples as you see fit, or contradict me if you feel my observations are incorrect. Please be polite!

 

[Karl Feuerstake]

Perhaps you can define what a "theme" is if you really think 'death of themes' is an observable trend?

 

[marclawsonmusic]

Strike two.

You are not discussing what is today in objective terms. You are discussing your own opinion on what you feel was once there and now is not. That is subjective.

Please start your own thread to address this topic. (it's a good one)