tag:blogger.com,1999:blog-8957911.post1549636180775927125..comments2024-03-28T12:59:05.739-07:00Comments on Iron Tongue of Midnight: Film ScoresLisa Hirschhttp://www.blogger.com/profile/14014924958428072675noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8957911.post-47828752864166201382007-05-30T21:44:00.000-07:002007-05-30T21:44:00.000-07:00Oh, excellent points.Terry is linking to a couple ...Oh, excellent points.<BR/><BR/>Terry is linking to a couple of other people who had comments.Lisa Hirschhttps://www.blogger.com/profile/14014924958428072675noreply@blogger.comtag:blogger.com,1999:blog-8957911.post-88183594140365889082007-05-29T11:55:00.000-07:002007-05-29T11:55:00.000-07:00Good points by all. The first great scores were f...Good points by all. <BR/><BR/>The first great scores were for silent films (say, <B>Alexander Nevsky</B>) and that the soundtrack has to add dramatic heft when there is no action or dialogue to do the same. The best comedies of the "Golden Age" were wonders of scriptwriting, with barely a breath between scenes for anything but the barest of musical cues. (Looney Tunes have stretches of dialogue-less action that gives the film score the best chance to add to the action.)<BR/><BR/>Dramas, thrillers and adventure movies all have mood-setting opportunities which provide for some memorable scores. Comedies at best have set-piece scenes that can have good music if it doesn't have to stand back for the dialog. One of the best examples of this (no, it's not a masterpiece, just a good illustration) was <B>Those Magnificent Men and Their Flying Machines</B> (1965), whose plot had lots of set-pieces with a pilot, his plane and no dialog, giving Ron Goodwin a chance to stretch the orchestra and provide good support.Anonymousnoreply@blogger.com