publicist

Certainly Ladyhawke and Moonlight.

Polished surface gloss, but it's a nice polish, i give it that.

Current trends align with Giacchino's abilities, then.

What are you talking about? Honestly, i never tire of watching Michael Gough playing demented scientists. He's delivering dead-pan instructions to a man in a bad gorilla suit looking back at him, constantly hisses evil threats towards future victims, shoots a cat, and no Oscar nomination was forthcoming. Buggers!

The Welcoming. It does wonders in the movie, too.

Wow, that's a pretty spectacular trumpet glitch between 01:20-01:25.

They won't, but schmaltzy and repetitive as it is, it's miles beyond what passes for dramatic film scores these days, construction-wise. A trifle, but kinda entertaining.

Almost too obligatory a mention, and i probably pitched it like 50 times over the years here:

No way. It is common knowledge that after the debacle of 'Aliens', it took 'Titanic' to heal that rift (after Horner went after Cameron because he just wanted the assignmnt badly).

I think they temped some of the action sequences with 'Total Recall' (a then-recent action score), which features an eerily similar 4-note baddie motif:

On a belated note, Powder (also Goldsmith), Sarah Brightman recorded Goldsmith's super-saccharine (but beautiful) theme.

Horner's on a different plane, education- and technique-wise. And both tended/tend to be lazy when afforded the opportunity.

Study? You have never seen (i. e.) these movies? The Lion King Crimson Tide The Rock Peacemaker Prince of Egypt Hannibal Matchstick Men Pirates of the Caribbean I-III King Arthur Last Samurai Da Vinci Code Kung Fu Panda Sherlock Holmes The Amazing Spider-Man 2 They may not be musically sophisticated in the ways of Williams, but they surely got (recognizable) tunes in them.

That‘s unduly reducing Zimmer‘s vast output to a few scores from the last years when it became industry standard to use music as wallpaper that is as devoid of character as possible (Nolan, of course). Which of course is no characteristic limited to Zimmers stuff.

I don't think that theory holds water, Zimmer is a good tunesmith. In pop/rock mode or in his often-used teutonian (or better, Mahler-ian or Wagner-ian) modes, i. e. Hannibal. Applied to 10 minutes of thumping and simplistic loudness (i. e. action cues) they may become grating, but i don't even think he's written much recently where he wkred on movies like that, maybe Bond, and that is unfortunately making my case.

The action music is always the weakness in Zimmer scores!

Fall of the Roman Empire is wake-comatose, so i go with the modern cheese version.

The sound upgrade alone is worth the prize of the new LLL, not counting the obvious allure of the music.

I mean, yeah, but how constructive is it in this context to deny a FILM score a prize just because you feel no affinity for its soundscape? I am not Greenwood's biggest fan either, though i respect his approach. And better give guys like him a prize than to award every shit just because it's orchestral and serves ancient clichés (which is what film music boards tend to celebrate, regardless of originality).

Why should a score that by your own account 'works really well in the movie' shouldn't win a film music award? Just because you don't like it listening to it on its own?

Matty was Mary Ann!

For Horner, the aforementioned Universal connection seems very likely (Tail, Sneakers, We're Back, hopefully not Dad). Though Zorro and The Perfect Storm feature higher on my wishlist, and Willow goes without saying. Likewise one of JNH's best, Hidalgo, should finally come out.

Reason No. 1: it's a work of its time and lost relevance, and i don't care how many marketing strategists and culture bloggers tell me otherwise. Another one of Steven Spielberg's follies that didn't click - but i bet you that if this would have been "Steven Spielberg's Phantom of the Opera', people would have turned up in droves.

Of course it mustn't, but The Hunt posits one very centrally, and i find it appropriate but not particularly great or outstanding.