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Who is the worst of the contemporary movie score composers ?

 
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PostPosted: Wed Aug 11, 2010 11:39 am   Post subject: Who is the worst of the contemporary movie score composers ? Reply with quote


I will start off the debate by nominating Vladimir Cosma. And at the request of LadyInque, I will add some facts in the form of opinion. Just how Cosma made it to the ranks of a composer that someone would actually hire to score their film is a complete mystery to me. His music is nothing more than a continuum of dreary notes with no melody of any sort ever developing . . . long drawn out interminable refrains that drone on without relief. I have heard his music on other channels to the point where I don't even tune in those streams anymore, so as not to be exposed to Cosma's so-called music. I find him to be a fraud of the first order.
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Last edited by Ormsby on Sat Aug 14, 2010 11:24 am; edited 1 time in total
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PostPosted: Wed Aug 11, 2010 12:55 pm   Post subject: Reply with quote


And I will continue it by asking, "Who is Vladimir Cosma? What has he done, and why is he so terrible?" Seriously, if this is a debate, give me the facts that support your opinion. Educate me.

See, this sounds like a tricky question. There are plenty of lousy composers out there that no one may have heard of. The real trick is to find hack composers who keep getting work. The Tim Rices of score composition.

And whoever you pick, this is bound to get more feelings hurt than the survey asking for the best composers.

Off the top of my head, I would nominate Tyler Bates. Aside from that 300/Titus fiasco, for which the stuff I've read leads me to blame him only partly, I think that the man only makes noise. He doesn't write music.
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PostPosted: Wed Aug 11, 2010 2:06 pm   Post subject: Reply with quote


Ormsby, by "worst", do you mean untalented, unskilled, untrained, and fake?

I highly doubt there are very many, if any, working film music composers who have any of those traits. Each person's view of music and art is strictly subjective. Yes, there is bad taste and good taste, but in the end, either you like it or you don't - and who is to say whether you are right or wrong?

As for Cosma, many people despise the score for Diva - yet it remains a cult favorite for many.

On the other side of the coin, however, are his gorgeous scores for
The Jaguar/The Closet - "gorgeous" being subjective, too, of course. Wink The Jaguar theme song is especially memorable and popular. It instantly gives one a vision (albeit westernized) of the broad sweeping plains of Africa.

No, I don't care for most of Cosma's works - but his music is perfect for the films he scores.

Two composers whose scores on CD are like fingernails on a chalkboard for me are Philip Glass and Michael Nyman - and yet when I view the films they scored, they are absolutely perfect. They become an integral part of the films, giving them as much color as the cinematography.
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PostPosted: Thu Aug 12, 2010 8:48 am   Post subject: Reply with quote


dunno... judging by the reaction of chat, it's possible Glass could be the worst... but I like Glass... so eh... just like "best" the "worst" is extremely subjective.
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PostPosted: Sat Aug 14, 2010 9:14 am   Post subject: Reply with quote


To continue on the Cosma argument, don't try to judge the man only by what SST got. It's like judging Zimmer only with "Broken arrow" and "As good as it gets".

I'll second Tyler Bates, and add Ramin Djawadi to the list.
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PostPosted: Tue Aug 17, 2010 10:33 am   Post subject: Reply with quote


I have never heard (or heard of) Tyler Bates or Ramin Djawadi . . . and for that, I guess I am fortunate.
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PostPosted: Sat Dec 10, 2011 5:17 am   Post subject: Reply with quote


I second the Tyler Bates dislikes too.
Many know already my bad feelings with all too electronic hunting scores. Although Djawadi has sometimes an equal favour of hard electronic sounds I must say he made some good scores IMHO too, so I'll judge him by the work not as a composer in general.

Vladimir Cosma is a composer who grew up with the Film Noir, which asked for a very following score what merely contributed to the atmosphere.
There is a large box with all his works recorded where some nice tracks can be found. In general his dreamy work is not my favorite neither.
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PostPosted: Sat Dec 10, 2011 8:43 am   Post subject: Reply with quote


Well, I will keep an ear out for both Bates and Djawadi. All I know is that whenever I am not at the computer, but listening to soundtrack channels, I can tell when Cosma is being played—mainly because of the endless repetition of several notes, the complete lack of anything remotely approaching a melody—and the absolute flatness of his so-called music.
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