Moods and synthesizers in movie soundtracks

OK I’m french. My english is a frenglish, it’s rusty and wobbly, et voilà. Try me, though. I’ll do my best. I promise. If sometimes it’s too bad, just laugh at me or roll your eyes.

When you think “synthesizers in movie soundtracks”, here’s Blade Runner. Vangelis’ music is a masterpiece. This will never move. This movie is a milestone.

But there’s a whole problem with bad eighties synth scores.

What surprised me recently is this :

1-Within the eighties, it was OK.

2-After the eighties, it was (very often) ridiculous.

3-Today, it’s OK back (sorry to say it this way, I’m french). Sometimes.

Try this with American Gigolo (Paul Schrader)

Try this with Apocalypse Now (F. F. Coppola)

Try this with Thief (Michael Mann)

Maybe it’s personal. My perception of the music in the movie, altered by age, the distance of movies.

Maybe it’s nostalgia : the happy Sixties are charming, the hippie/disco Seventies are charming, and now probably that the Eighties are bearably charming too, with all this plastic fluo Buggles OMD snap.

The only secret of Daft Punk recent huge success is here : Finding back the flat comfortable disco beat who made Saturday Night Fever a neverending success. Remember Midnight Express ? Cerrone, maybe ?

Maybe it’s an eternal loop. OK/bad/OK/bad/OK. Depends on the sound of the moment.

Dial :

If what you make has the purpose to stick to the now, forget all this, you don’t care.

If you want to last, you have to realise that what you’re doing today will peut-être be a big pile of merdrrre in ten years, and (maybe) it will be re-discovered in twenty years. Then, you’ll be rich like a pacha.

Maybe.

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