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But it sounds so compressed. It really feels as if Sony's expansive 20-bit-technology strangles the brass.

Upon seeing 'Star Trek' i say: liked it apart from the inane drill device, the whole Nero thing was a bad idea. It certainly was a loud summer crowdpleaser, but it had flow and good characterizations apart from the sidekick machinist (Scotty?). The ethnic music connected with Spock wasn't too hot, either, but Giacchino's somewhat melancholy main theme is very good and he had some fine musical moments...nothing specatcular, but good enough.

Rather get a sense how much other composers they have heard. The more they have heard, the less scores Zimmer. It's a rather dependable way of prognostication.

As a matter of fact, people put down composers who can't write much more than pop music but constantly write challenging narrative music for i. e. epic films which other, trained people before them have written with much more style, taste and a infinitely better grip on musical forms of expression.

He certainly did a better job in the 'clumsy directing' department.

So you would recommend it? How come this score never gets discussed here? It must be nothing particularly special... If you have listened to the clips you surely have formed an opinion by yourself?

That's why i said 'bigger tragedy'.

The problem is that Lucas had some kind of lofty concept for the prequels, about the nature of political systems, democracy etc. - all rather ambitious - but then really fucked up his concepts with inane storytelling and filmmaking. I don't care much for either 'Star Wars' or 'Star Trek', but the prequels are the bigger tragedy from a what-could-have-been standpoint.

That much is certain.

Ignorance is not always a bliss. From 'Zorro' to 'Spiderwick Chronicles' you'll miss out on some good stuff.

I agree, post Titanic, Horner is a nonentity. But this thread isn't about that; it isn't a debate about composer skill. Oh and I don't really know his Wrath of Kahn and Krull scores (saw Krull years ago), but I've always meant to check them out since joining this place. But my point was that Horner wrote some damn good music after 'Titanic'! But i prefer Goldsmith, by a landmile. And i even like that one long action track on 'Along came a Spider', so there.

I don't think so. I find it just laughable that so many film music fans are so fast to dismiss anything of what composer X wrote after year Y. And i suspect that a lot of those 'WRATH OF KHAN'/'KRULL'-shouters never really listened to what Horner served up after 'Titanic'. A lot of it sounds the same, alright, but from 'Mighty Joe Young' to 'Boy in the Striped Pajamas', there is nothing? Absolutely nothing of note? And Goldsmith wrote 'Looney Tunes' while dying. It may not be a spectacular finish, but an unworthy one?

Maybe you just didn't look hard enough.

I'm wondering... what did you expect, exactly? I didn't expect anything, i listened to this extensively when it came out in 1992 and always felt it seemed strained. I quite like the themes, as i said, but this was to be expected with Williams. But apart from some great muscular irish jigs ('Fighting for Dough') the rest doesn't come together. Too much fanfar-y olympic spirit, i guess.

To make every crew member about 45 years younger than their predecessors signals a rather drastic 'mix' change.

That doesn't make 'Far and Away' any better...as for the music, good themes, mediocre execution. This problem seems a mixture of Williams getting bored of being glossy Hollywood guy No. 1 and the rather labored direction by Howard, which never invited anything more substantial, anyway.

Must have something to do with this beastly scandinavian climate...

I don't see any similarity. One seems very undercooled and technoid, the other like a slavic lament. 'Presumed Innocent' seems a better rival for 'Basic Instinct', while i don't see a Goldsmith equivalent of 'The Chairman's Waltz'. 'QBVII', maybe...

But that's a question of perspective. If you've heard 'Last Crusade' or 'Hook' first, 'Amazing Stories' sounds like re-hash, even if it's the other way around. While 'The Mission' is far from the greatest thing ever written, i find it more engaging and breezy than i. e. 'HP & SS' where the same basic ingredients sound too heavy and overworked.

The movie flopped with test audiences and Giacchino's score will be replaced with Generic Horner Score #78. Generic Horner animation score? I'll take it!

I'll bet that the 'tune' is everything, since Zimmer's strength certainly lies not in classical structures and idioms. That the music is able to stand on it's own; well, if that means that Zimmer arranges a nice sacral-pop album like 'Da Vinci Code', i'm all for it. As for listening to 10-minute action pieces without any structure, i'll gladly invite Zimmer to my home to teach me what 'inner most feelings' he found there. He has to pay for lunch, though...

No. But some people will be happy, so who cares?

Not only overrated, but completely irrelevant!

If you had to arrange a one-minute preview of 'Star Wars' , would you choose 'The Walls Converge' to stir up some heat?