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Après c'est une affaire de gout bien sûr, mais les "genies" comme Williams arrivent à s'inspirer fortement d'une oeuvre classique tout en la transcendant... - Compositeur .org - Forum des Compositeurs : Musique et Composition
Au niveau harmonie et contrepoint j'aimerai être aussi mauvais que ce copieur en attendant. - Compositeur .org - Forum des Compositeurs : Musique et Composition
When did you start noticing composers imitating your approach?
DE - Right after Pee Wee's Big Adventure. For that film, I took an Italian, Nino Rota-like approach to an American comedy because I didn't like the fact that most contemporary comedy scores were so jazzy and poppy. So, of course, for about the next five years after Pee Wee's Big Adventure, all these comedies were suddenly becoming Italian!
And the imitations didn't stop after Pee Wee, either. My other scores that are imitated the most are probably Beetlejuice, Edward Scissorhands, and Batman.
Unfortunately, my generation of composers are by and large the most plagiaristic in the history of film. And, you know, composers have a wonderful way of rationalizing when they plagiarize another living composer.
For Example, John Williams' 2-note pattern for Jaws has been imitated thousands of times in tense scenes, but composers will simply rationalize that he didn't *invent* those two notes. Well, that doesn't matter! It was Williams who brought those two notes to a certain style of movie, and that's really the key issue.
The bottom line, I believe, is that it's just too easy to imitate your musical contemporaries. It's like taking a free ride. I think that composers who really care about the *art* of film composition will tend to draw more from the work of dead masters than from their living cohorts.
Danny Elfman (1997) - Compositeur .org - Forum des Compositeurs : Musique et Composition
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