Thats a good point. Also junkies' point is good.I think his answer is good!
BTW I can still hum the theme from Deadpool and the emotional strings theme from Fury Road so he managed to get some themes in there
IMO, just a general trend, older movies were more about capturing emotions inside the characters, and the edit was paced so that the movie would hardly work without music. The Leone-Morricone movies and Spielberg-Williams movies for instance. Newer movies are more about capturing characters acting and reacting, and the edit aims to tell the story by itself. I'm not saying new movies are fast and old movies are slow. Just that there is less for the music to do. IMO Guy Ritchie is a great director at capturing emotions and character inside of an action scene.
Also, there is just "more story." A crime / caper movie today will have far more twists and turns than in former times. In that circumstance, music simply can't get in the way of what often is a huge amount of expository dialogue that is required for the audience to follow what's happening.
It's an interesting topic.
After Francis Coppola spent nearly two years in the Philippine jungle making his $31million Vietnam War epic, Apocalypse Now, he wrote a note to himself, which his wife found. It read, in part:
“My nerves are shot—My heart is broken—My imagination is dead. I have no self-reliance—But like a child I just want someone to rescue me...”
Instead of abandoning his movie, he kept going, struggling in some remote Jungle, for a higher cause than himself. He just descended into a frenzied creative journey, that made a huge lasting impact.
Who is J.S. Bach? I haven't heard his music on the airwaves.I think it is because most movies aren't memorable these days. Music only supports it. Garbage in, garbage out. They have a common factor: Art, soul, the love and soul for the art and craft. Movies are pumped out from a factory line to make a quick dollar. It has become just another product. That is why J.S. Bach will last forever, and J.S. Bieber maybe for a decade (or when the money runs out). And I am not cynical.
Take Francis Ford Coppola's struggle to create the movies he made... he almost lost his sanity. He simply gave everything he had. His whole soul. The incredible amount of work, stress, blood and tears is why his movies will last for a very long time. And so does it's soundtrack and music, because I can bet that he demanded only the best. Nino Rota, for example.
A short anecdote:
Sorry, maybe I slept during the T2 permiere back then, but there is at least one definitive strong melodic motif in that film which is repurposed a couple of times during the movie which lets connect the audience to the emotional aspect of the story and characters.Some films work without music. Terminator 2 is fantastic with absolutely no melody at all. "Melody-free" film music isn't any worse than one with melody - it's just different. If it suits the film, then that's fine. Don't take me wrong, I'm big on melody and my favourite scores are very melodious. But sometimes just sound design can go a long way. (note: I haven't yet watched the Junkie video)
Yes..during the movie you have a couple of times this main melodic motif put into slightly different tempos, intensity and moments. You should probably rewatch that movie, when you find some time..Same with the T1, sure the majority of music in both movies is pretty percussive and clustery, + in T1 you have all this cool synths. For me the consensus is: Movies can work without strong melodic motifs, sure. The important thing should be that the music serves the picture, and the ideal thing would be that the music can stand IN ADDITION on its own..what is for me personally less and less the case with modern filmmusic. I also miss a strongly development of the motifs in films, there is actually very less to none for me.My bad..there is a melody in T2. But was it used in the film apart from the credits?
The reason is because "Good, Bad Ugly" etc. are well-known, often used specifically to recall some feeling from the original, or meant ironically. I don't think composers have lost the ability to write long melodies. In fact, as much as I love maestro Morricone's music (especially "The Mission," which is arguably the greatest film score ever), I think it's the context that surrounds his scores that generates those needle-drops, not the music on its own.There's a reason why Morricone is constantly needle dropped