:::: SCORING THE WORLD OF DREAMS AND TANGERINES ::::
The following excerpts are just a small part of Tangerine Dream scores produced for the big screen as well as for TV. It shows the variety of sounds and styles within the Tangerine Dream world of music.
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As all Tangerine Dream followers know, the band did score pictures all over the world for more than two decades. Among a few Hollywood blockbusters, there have been some interesting musical sequences for experimental films as well as some energetic sound supports for cable TV series in the USA and Europe. TD did score movies for first time directors who are now Academy winning or Academy nominated stars in the film industry i.e. Michael Mann, Kathryn Bigelow, Ridley Scott etc.
When Tangerine Dream started their first Hollywood movie "Sorcerer" in 1977 directed by Bill Friedkin, no one had ever heard the sound of the driving bass notes from their Moog Sequencer. Such sounds and rhythms became the trademark of a band founded in 1967 by Edgar Froese. Meanwhile the recording technique, production tools as well as software supported sound systems have revolutionized all areas within the making of film music. TD has coped up with all technical necessities and are still at the forefront of future sounds and recording facilities.
It also has been a trademark of Tangerine Dream never giving a score to third parties doing the job. So 'original score' always meant to be original and authentic with the unmatched signature of the band's knowledge and experience. So as an outcome of trust, creativity and professionalism it is proved that in their long career no TD score ever has been replaced by another composer by request of the studio, producer or director.
After a period of doing concert tours, creating special events round the globe, the band is now into the scoring business again. Edgar Froese who is still the navigator of this fast sailing boat explains a few exceptions within their new production world: " We don't touch orchestral scores, they are done better by those colleagues who are working with orchestras all the time, we're also not interested in any daily Soap Sequels. We're very interested in new formats, new type of scripts, new directors who understand cinematography as a perfect transport of new intelligent information. So we're not available for 'bread and butter' jobs - that might sound arrogant and too cool for a money making industry? Yes, it is arrogant and it should protect ourselves from misunderstanding the creative work we love to do. A composer has to support a picture the best way he can, but the qualification to do this is very simple: The project must be done as a labor of love and complete dedication. And even a sensational income has to be seen as a supportive element in order to create a fascinating musical result.
It is very obvious that a lot of people in the industry will call the last part of this statement completely unrealistic. And they're right as long as you're hunting for every little trailer requested by a soap production company. But we are not necessarily part of the usual scoring community. Tangerine Dream work completely independent, without any obligations to agents, record companies or managements. A trustful working legal department is taking care of all necessary contractual issues.
If you want to combine your interesting intelligent project with a modern, unusual professional score, you're in direct and exclusive contact by sending a mail to firstname.lastname@example.org