Why is Music from the Marvel Cinematic Universe So Forgettable?
To begin I’m easiest one of the biggest fans of the Marvel Cinematic Universe there is. I line up for the latest Marvel fair like the rest of the fan boys. But Tony Zhou from Every Frame a Painting, brought up a very good point when it comes to the music of the most successful film franchise in history:
“Can you sing any theme from a Marvel film?
He created this amazing analysis of not only the music in the Marvel Cinematic Universe but the state of musical scores in the film industry in general. The need to “be safe and none offensive” has watered down what could be amazing and original music.
Do you think the theme to Jaws, Star Wars, Indiana Jones or Harry Potter were safe? Maybe, maybe not but I’ll bet you can hum at least one of those themes. Take a watch of Tony’s great videos below. It might change the way you watch and listen to films in the future.
THE MARVEL SYMPHONIC UNIVERSE
Off the top of your head, could you sing the theme from Star Wars? How about James Bond? Or Harry Potter? But here’s the kicker: can you sing any theme from a Marvel film? Despite 13 films and 10 billion dollars at the box office, the Marvel Cinematic Universe lacks a distinctive musical identity or approach. So let’s try to answer the question: what is missing from Marvel music?
Hollywood Scores & Soundtracks: What Do They Sound Like?
Do They Sound Like Things?? Let’s Find Out!
Every Frame a Painting with the MARVEL SYMPHONIC UNIVERSE
The creator of the David Fincher: And the Other way is Wrong is a freelance editor based in San Francisco named Tony Zhoe. He has an amazing series of video essays called “Every Frame a Painting” focusing on a director and one aspect of film form. According to Tony:
“Film form is the way pictures and sound work together to create meaning. If you think of film as a language, this is the vocabulary and grammar.
Composition, lighting, editing, color, silence, movement, and music are all aspects of form. There’s a weird perception that this stuff is boring, but it’s honestly pretty fun.”
Each episode is a mini film school. He does a great job and has built up a hell of a following. I love his on going series so much I’ll be spotlighting his work on Indie Film Hustle from time to time. It’s a much watch for any filmmaker, a film student or an old pro.
Always keep learning, always keep growing no matter what your age. Take at look at his other remarkable video essays.
Please support Tony’s work by going to: Pattern
Danny Elfman, Alexandre Desplat, Patrick Doyle, Mychael Danna | 2012 THR Composer’s Roundtable
Full uncensored interview with our composer roundtable guests, Mychael Danna (Life of Pi), Alexandre Desplat (Argo, Zero Dark Thirty, Rise of the Guardians, Rust & Bone, Moonrise Kingdom), Fernando Velasquez (The Impossible), Marco Beltrami (The Sessions, Trouble With the Curve), Danny Elfman (Frankenweenie, Hitchcock, Promised Land, Silver Linings Playbook), Patrick Doyle (Brave).
Trent Reznor, Hans Zimmer, Danny Elfman and more Composers for THR’s Roundtable | Oscars 2015
Marco Beltrami (The Homesman), Danny Elfman (Big Eyes), John Powell (How To Train Your Dragon 2), Trent Reznor (Gone Girl) and Hans Zimmer (Interstellar) join THR’s Kevin Cassidy to discuss the process behind scoring the top films of the year.
“Because everyone in the film grew up, I thought maybe the music should,”
John Powell said of his experience during his creation of the score of “How to Train Your Dragon 2.
“Films are like icebergs, you have them at a certain point where they all look like they’re all in a row but then they all start to move and they start to flow.”
Danny Elfman, composer of “Big Eyes” shares about his experience creating the score for the motion picture.
“There wasn’t a lot of room for misdirection and it just added a level of tension that I can hear in the music, which may be a good thing.”
Trent Reznor, the “Gone Girl” composer, dishes about the music that surrounded the Oscar-nominated drama.
“This project was sort of so delicious, it was so nice.”
said “Interstellar” composer Hans Zimmer about his time on set of the sci-fi flick.
“I could just go and express my ideas and whatever I wanted to try out, we could try out.” “For me the whole thing is trying to distill the essence of the picture to the most simple element,”
What was your favorite film score ? Share with us down in the comments!
If you liked Why is Music from Marvel Cinematic Universe So Forgettable?, then you’ll love:
How to Work with a Music Composer with Cris Velasco
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