Interview with Chris Franke from 2001
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24db
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never say never is also what Johannes Schmoelling said about joining TD again , too much of that kind of hoping leads to disappointment24db wrote:true...but I know Chris has his Projekt Elektronic modular powered up 24/7 at his 'other place', he sometimes goes there to relax and play on it...so never say never.
Well I gave up on Chris years ago...not to write off his career though, it's just that I don't like his music and therefore I decided to spend my money on other things, I'm sure he makes a reasonable living out of it (although rumour has it he's over stretched himself on several ocassions).JD wrote:never say never is also what Johannes Schmoelling said about joining TD again , too much of that kind of hoping leads to disappointment24db wrote:true...but I know Chris has his Projekt Elektronic modular powered up 24/7 at his 'other place', he sometimes goes there to relax and play on it...so never say never.
my ex girlfriend used to work in tv and she said composers would get about 100k for a TV film in the USA ...how many did he do ? not to mention the money from B5, I bet he earned a packet.24db wrote:Well I gave up on Chris years ago...not to write off his career though, it's just that I don't like his music and therefore I decided to spend my money on other things, I'm sure he makes a reasonable living out of it (although rumour has it he's over stretched himself on several ocassions).JD wrote:never say never is also what Johannes Schmoelling said about joining TD again , too much of that kind of hoping leads to disappointment24db wrote:true...but I know Chris has his Projekt Elektronic modular powered up 24/7 at his 'other place', he sometimes goes there to relax and play on it...so never say never.
I guess it rather depends on the budget of the film...you'll notice that Chris has scored fairly low key, dare I say it, at times 'B' pictures (as well as some larger films). However he also worked on several US and European TV series, not all of which are widely known (Story of the Keys?...and gulp...er Super Nanny), perhaps some were shelved or went straight to DVD?. Whilst in TD he mortaged himself up to the hilt...and I think this is one of the reasons why Edgar and he started to fall out (off on a tangent). Edgar would be pulling all the stops out trying to get Hollywood work for TD to do, to pay for the equipment (although Edgar is on record saying that he didn't put his own money into the Spandau studio, afterall all three musicians had their own multitrack studios in the City), only to hear Chris complaining about the amount of work they were doing, then leaving (complete with $1,000,000's worth of equipment) and then setting himself up in Hollywood, just doing film scores and rubbing Edgar's nose in it; saying he (Chris) could now compose twice as much music each day than when he was in TD.JD wrote:my ex girlfriend used to work in tv and she said composers would get about 100k for a TV film in the USA ...how many did he do ? not to mention the money from B5, I bet he earned a packet.24db wrote:Well I gave up on Chris years ago...not to write off his career though, it's just that I don't like his music and therefore I decided to spend my money on other things, I'm sure he makes a reasonable living out of it (although rumour has it he's over stretched himself on several ocassions).JD wrote: never say never is also what Johannes Schmoelling said about joining TD again , too much of that kind of hoping leads to disappointment
He did quite a few mid budgets too, the 100k wasnt the major films, i meant the made for tv stuff. He had 2 years to recharge his batteries remember so maybe after that break and free from the constraints of the TD sound, he actually could write twice as much ? not forgetting technology was getting more user friendly too.24db wrote:I guess it rather depends on the budget of the film...you'll notice that Chris has scored fairly low key, dare I say it, at times 'B' pictures (as well as some larger films). However he also worked on several US and European TV series, not all of which are widely known (Story of the Keys?), perhaps some were shelved or went straight to DVD?. Whilst in TD he mortaged himself up to the hilt...and I think this is one of the reasons why Edgar and he started to fall out (off on a tangent). Edgar would be pulling all the stops out trying to get Hollywood work for TD to do, to pay for the equipment (although Edgar is on record saying that he didn't put his own money into the Spandau studio, afterall all three musicians had their own multitrack studios in the City), only to hear Chris complaining about the amount of work they were doing, then leaving (complete with $1,000,000's worth of equipment) and then setting himself up in Hollywood, just doing film scores and rubbing Edgar's nose in it; saying he (Chris) could now compose twice as much music each day than when he was in TD.JD wrote:my ex girlfriend used to work in tv and she said composers would get about 100k for a TV film in the USA ...how many did he do ? not to mention the money from B5, I bet he earned a packet.24db wrote: Well I gave up on Chris years ago...not to write off his career though, it's just that I don't like his music and therefore I decided to spend my money on other things, I'm sure he makes a reasonable living out of it (although rumour has it he's over stretched himself on several ocassions).
The way it looks, that's the only way you can squeeze music out of that man, 99,9 % of the time.24db wrote:The flip side of that is that Hollywood squeezes every gram of talent out of you, like the huge machine it is...you can get used. Chris Franke 'if you just do film scores, without a solo career, you can be treated a bit like a slave'.
Michael66 wrote:The way it looks, that's the only way you can squeeze music out of that man, 99,9 % of the time.24db wrote:The flip side of that is that Hollywood squeezes every gram of talent out of you, like the huge machine it is...you can get used. Chris Franke 'if you just do film scores, without a solo career, you can be treated a bit like a slave'.
It's not the film industry's fault he can't deliver solo records. He could have had a nice little solo career in the U.S. electronic music scene. Steve Roach, Robert Rich, Michael Stearns and countless others are all productive and seem to make an ok living from their talents. Maybe that level was not big and important enough for Chris Franke.
)..anyway, enough of Chris in Hollywood...see you on another threadSpeaking as someone who owns 90+% of Franke's solo work (including soundtracks), I believe that virtually ALL of the soundtracks will be long forgotten in less than a generation. Unlike that of his TD career. That to me is a wasted career.Michael66 wrote:Regarding his music, IMHO Chris Franke had one substantial creative moment post-TD, and that's "Frost Ruby" from "Perry Rhodan: Pax Terra" ... The rest, I wouldn't buy again.
It depends how you look at his career. He did his part in creating the musical legacy of TD for 18 years and then went on to create a widely copied style of music scoring. Most composers wouldnt even dream of being able to say that on their death bed.rattymouse wrote:Speaking as someone who owns 90+% of Franke's solo work (including soundtracks), I believe that virtually ALL of the soundtracks will be long forgotten in less than a generation. Unlike that of his TD career. That to me is a wasted career.Michael66 wrote:Regarding his music, IMHO Chris Franke had one substantial creative moment post-TD, and that's "Frost Ruby" from "Perry Rhodan: Pax Terra" ... The rest, I wouldn't buy again.
