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That makes sense. I was poking a bit for fun. The point that Lapis Molari makes is a good one. Can you imagine some of these shows, especially Twin Peaks or The X-Files without that music?
I think when you're talking about the theme song to a TV series, that's different than the score to a film. They serve different functions. You want the TV theme to welcome you, to create a sense of anticipation upon the weekly repetition. You want a film score to heighten or compliment the emotion of a scene, not add in a feeling where none existed.
I loved the Tron Legacy movie. I never watched the original Tron, so I didn't care about faithfulness to it. I didn't only love the music, but also the visuals, the characters (Michael Sheen's Zeus and Jeff Bridges as both Flynn and Clu, especially). The de-aging might not have aged well, but I remember it being decent when released. The lore about the Iso's and the purge and resistance was cool as well. This film is one of my favorites.
was dropped in without much explanation because it was from the amazing animated series made as a prequel to the film. The series is where they were going to explore that more:
I somehow missed that. < checks services > OK, I have something else to watch on Disney+.
I always felt that where the Marvel movies fall short is music. The formula is damn near flawless. But the music is completely forgettable filler. No great themes, or memorable pieces like John Williams' Superman, for instance. It's a shame. So many things work so well in the films. But for whatever reason, it's as if the music was an afterthought.
Good question. Perhaps a bit of both. I suppose I'm coming from the perspective that music/score used to play a much more vital role in filmmaking in general. Nowadays it often seems like more of an afterthought. That said, regarding modern super hero films, Christopher Nolan's Batman films have an amazing score that elevates the films to another level. DC even managed to put a little something into Wonder Woman. But that's essentially where it ends.
This is touching back on my point. The more I think on it, I don't think we're talking about a music problem, I think we're talking about a music trend. They don't make them like Williams anymore, in fact the most memorable Williams tracks are heavily inspired by (/trying to evoke) even older music so that kinda goes double.
I don’t see it that way. Of course among this sort of fandom Williams will be mentioned first because of the films he’s associated with. But Shore’s scores could just as easily be cited. I think it’s more of the choice between scores that are more traditionally melodic and those that feel more like an extension of the sound design. And the overall trend as @addiesin points out. It’s not Williams vs Zimmer, but you could certainly use those names as shorthand for the trends we’re speaking of.
We can talk about reasons for this, but it doesn’t change the fact that many feel that these trends cause the products to lose much of their emotional impact. Marvel isn’t the target, but rather the most high profile example of this trend. As you said, it is true for most big budget tent poles these days. I think the investment in spectacle causes budget to be reallocated. And, in my opinion, it is often to the detriment of elements that help to create emotional connection.