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Fancyarcher

Hans Zimmer - X:Men: Dark Phoenix

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http://collider.com/hans-zimmer-x-men-dark-phoenix-composer/

 

"“[The set] was actually very tame. Simon directed this one, and came in very prepared, very professional. It was a different energy on set and everything got done like clockwork. It was very seamless. Everybody was a little bit more level-headed, so it was a very pleasurable, light experience. I think the film is gonna be incredible. Hans Zimmer’s scoring it—I don’t know if I was supposed to say that or not. Simon has surrounded himself with incredible people, and Simon knows this world better than anybody, so it was just cool to see him—he’s so happy and in his element in that world, and also being able to direct and guide everybody in this way. I was very happy for him and I think it’s gonna be great.”

 

Guess that "I'm retiring from superhero" business was all for naught. I suppose the large check he received was too good to turn down though. This is rather unexpected too. At this rate Zimmer will score every franchise in existence. 

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Maybe it's one more of those projects he takes for him first and then passes on to some protégé. It's not the first time one of them gets their hands on the franchise, like Jackman, Powell and Gregson Williams in the past.

 

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5 minutes ago, James said:

Maybe it's one more of those projects he takes for him first and then passes on to some protégé. It's not the first time one of them gets their hands on the franchise, like Jackman, Powell and Gregson Williams in the past.

 

 

Powell had struck out on his own when he did the third X-Men though.

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Singer's pretty much out now, isn't he?  Or will he keep working his way back in until there's one big accusation against him that sticks?

 

2 minutes ago, idril said:

My guess is Zimmer will be working with someone else on this and largely just put his name to it. 

 

Kawczynski and Mazzaro may suddenly become known names, like Lorne and Klaus...

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3 minutes ago, TGP said:

Singer's pretty much out now, isn't he?  Or will he keep working his way back in until there's one big accusation against him that sticks?

 

Oh right, I forgot!

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Singer directed 4 team movies.

X-Men 1 was excellent at the time but hasn’t aged well. It’s still an important movie in superhero film history though because it’s success probably paved the way for the glut of them we have today. Aged badly but not Batman 1989 badly.

 

X2 is the best team movie in the series and still not be of the best superhero films ever.

 

Days of Future last is great.

 

Apocalpyse is a bit mediocre but mainly because it tries to be an MCU film.

 

He also produced First Class which is the second best in the series (I’m counting the Wolverine stuff as separate from all this).

 

I’d say Singer has done a fine just b but it probably is time for him to move on.

 

I’m not sure Kinberg will be capable of much beyond mediocrity though. 

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Zimmer is perfect for this trainwreck the way I see it. But I don't really care. We didn't have a decent X-Men score since 2006 anyway

 

Disney will probably take over after this one so who cares. Hope someone finally makes a proper X-Men film that is actually faithful to its source material.

 

Karol

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7 minutes ago, TheUlyssesian said:

Apolcalypse score is pretty good! The Jean Grey theme is really nice. The main X-Men theme is one of the more memorable superhero themes.

 

Why not bring back Ottoman?

 

Apocalypse's score is also pretty good. I like the material for Apocalypse a lot.

 

Ottman was working on editing Bohemian Rhapsody when the film went into production. I'm guessing Fox wanted a big name composer, and hiring Zimmer made more sense to them.

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Why, does Ottman use ghostwriters and not credit them at all?

 

I suppose my problem with Zimmer taking over the world is producers wanting him to 'overproduce' a score so they can put his name on a CD, while most of the score is actually written by someone else.

 

Well, and Zimmer's unrelenting pretentiousness too.

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Ghostwriting implies that credit isn't given.  Zimmer's scores never lack exhaustive credits.  Hence it isn't ghostwriting.  It's music written by a number of people and no one is claiming otherwise.  There's a big difference in principle, which I think is obvious.  Take from that what you will. 

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9 minutes ago, Fancyarcher said:

 

Apocalypse's score is also pretty good. I like the material for Apocalypse a lot.

 

Ottman was working on editing Bohemian Rhapsody when the film went into production. I'm guessing Fox wanted a big name composer, and hiring Zimmer made more sense to them.

 

Yep. A good rundown of his score. http://filmtracks.com/titles/xmen_apocalypse.html

 

The End Credits cue is superb.

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5 minutes ago, TGP said:

Ghostwriting implies that credit isn't given.  Zimmer's scores never lack exhaustive credits.  Hence it isn't ghostwriting.  It's music written by a number of people and no one is claiming otherwise.  There's a big difference in principle, which I think is obvious.  Take from that what you will. 

   

Yeah I get that ( finished my thoughts above after the initial post).

 

I'm not arguing that Zimmer uses ghostwriters; rather the reasons his name is most prominent in marketing when very little of the product is him.

 

If he wrote perhaps 70-80% of his collaborative scores, I could understand, but I suspect that figure is way lower on some bigger projects, and hence his credit is elevated above his contributions.

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5 minutes ago, TheUlyssesian said:

 

Yep. A good rundown of his score. http://filmtracks.com/titles/xmen_apocalypse.html

 

The End Credits cue is superb.

 

The end credits track features the best performance of the X-Men theme by far. I think I listened to it ten times after coming out of the theater. It's great. I also like how he actually used the theme as an action track this time. 

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11 minutes ago, Richard Penna said:

 

   

Yeah I get that ( finished my thoughts above after the initial post).

 

I'm not arguing that Zimmer uses ghostwriters; rather the reasons his name is most prominent in marketing when very little of the product is him.

 

If he wrote perhaps 70-80% of his collaborative scores, I could understand, but I suspect that figure is way lower on some bigger projects, and hence his credit is elevated above his contributions.

 

I'm sure most people would leap to some insidious reasons for why this is, so how about something more altruistic:  no one is going to let Hans put someone else's name first, or alone, on the cover, if they aren't well established.  Yeah, they want his name more than his music, stupid as that is.  Part of Hans' game is helping people get established.  So yes, his name is there sometimes when he hasn't done much, but no one is hurt by this, and the people who get the experience and exposure from working on something high profile certainly aren't hurt by it.  His name is there basically so they can have the chance in the first place.

 

As someone who is still basically reliant on more established composers to get work, I think there's a huge distinction to be made between someone who will treat me like that, and someone who will simply farm the job out with little concern for how it may benefit me, and almost certainly without giving me any kind of due recognition for what I've done.

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But if you're buying an album where only Zimmer's name is on the front cover, but say 30% of the music is him, isn't that misleading?

 

And I feel it's different from hiding ghostwriters because they only do it due to the name recognition. If they didn't care about that, we'd see a lot more Zanelli/Jablonsky/Balfe on front covers.

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1 minute ago, Richard Penna said:

But if you're buying an album where only Zimmer's name is on the front cover, but say 30% of the music is him, isn't that misleading?

 

 

That's just the name of the game sadly.  But in a few year's time when you have your own front cover thanks to the connections and experience, you don't mind...

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7 hours ago, Richard Penna said:

But if you're buying an album where only Zimmer's name is on the front cover, but say 30% of the music is him, isn't that misleading?

 

And I feel it's different from hiding ghostwriters because they only do it due to the name recognition. If they didn't care about that, we'd see a lot more Zanelli/Jablonsky/Balfe on front covers.

 

I see your point. But do you feel misled by Danny Elfman with his Justice League score? He had like 4 ghostwriters on that score. 

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7 hours ago, Richard Penna said:

But if you're buying an album where only Zimmer's name is on the front cover, but say 30% of the music is him, isn't that misleading?

 

And I feel it's different from hiding ghostwriters because they only do it due to the name recognition. If they didn't care about that, we'd see a lot more Zanelli/Jablonsky/Balfe on front covers.

 

Regardless, everybody who worked on the score gets credited for the cues they worked on on Hans' website. Which is kinda neat, not just because it is neat to see that level of detail in accreditation, but also because it is neat to see who wrote what and who contributed in what manner. Interstellar, for example, seems to have been one of the few recent scores by Hans to have been written entirely by him, and I think that shows in the music. 

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