Some time ago, there was video called The Marvel Symphonic Universe , regarding how terrible the music in the Marvel (MCU) is. It seemed to place the blame on an overreliance on temp scores, those little snippets of random music that a director uses to work with his editor to finalize the cut of the film. They become so enamored with these snippets that they insist their composer warp their music to match. I found this gentle counter opinion, A Theory of Film Music , which rightfully noted that temp scores have been around roughly since the dawn of sound in film. It suggests that the source material being drawn from is an ever shallowing puddle, and film music is seen more as musical landscape, a la Hans Zimmer, rather than melodies and themes. Both of these led me to consider the problem from my own point of view, which from time to time I’ve mulled over. I find bits and pieces within each that I agree, but feel that both miss the main point. That point is simple: The majority of...
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