KK

Why not? It's his music. Who are we to say what kind of release his music "deserves" (especially for music we haven't heard). Sounds pretty entitled to be honest, and there's definitely judgement underneath a statement like that. It's perfectly fine to make critique about the quality of one's music and their presentation (Lord knows most modern film music albums are just way too long across the board), but these blanket statements around what film music should and shouldn't be are the kind of thing that gives our crowd a bad rep.

Wow. The camera really does add 10 pounds eh?

I don't know. I think he rightly points to a culture in film music fan circles of doubling down on deep-rooted biases and casually dismissing the labour of various artists in Zimmer's circle as being worthless. And film music "critique" rarely engages in a meaningful dialogue about process and aesthetic outside of "I liked it" and "I didn't like it" and there is little effort to engage with artistic process around the craft and get at deeper critique. Though I think this is definitely changing as there are more interesting things being done by writers/podcasters and etc these days (some of who

To be fair, that’s a pretty classy response. And a pretty apt critique of film music journalism.

This. Well, that and streaming.

My takeaway as well. I would presume that there was more to Southall quitting than the Zimmer comment. Yea, but that's the internet, isn't it? Uber-passionate fanboys who passionately condemn or endorse without nuance. Just doesn't seem very graceful of Zimmer to start swinging under the belt in return. I might understand the frustration he might feel, knowing more about the actual labour that goes behind the curtains getting casually dismissed by Facebook commenters, and I usually appreciate when he sprinkles a little reality-dose with the fans, but this outburst seems l

I've only seen Erik's summation of the events. Apparently it was in response to the 4 hour length of JXL's upcoming Justice League score. Someone said something like: "it would have to be the best score in the world to warrant that length". And Southall wrote "Exactly.", to which Zimmer responded:

Sometimes, I dig Zimmer's unfiltered honesty in some of these interactions. Fanboy entitlement could always use a healthy shakeup. In this case however, he was just being a dick.

Meh. Typical Marvel third act syndrome. Takes a perfectly interesting concept, and squanders its potential in a massive CGI-fest and Marvel Universe setup info-drop. Elizabeth Olsen is a real pleasure to watch though, and she does the best she can with the material.

LOTR: The Fellowship of the Ring (CR) by Howard Shore Damn, is this shit good. I've waxed enough poetic about these scores, but this time, I'm especially struck by how FOTR works as a mood piece. The way it accumulates tension and existential dread (as karelm fittingly put it in the other thread) makes it deeply psychological in a way no other fantasy scores really do it (even the other two "flashier" scores fall short here). The whole thing, from the first act to the third, is a masterclass on setup and release. This is fucking good film music.

Raya and the Last Dragon by James Newton Howard That was...not good.

Halfway through this. Not enjoying it at all.

Well, The Imitation Game itself is just built on the typical Desplat post-minimalist mode anyway, so I doubt that it's much of a reference. I think Jóhannsson's score draws both broadly and specifically from Desplat/Richter/Korzeniowski (maybe a bit of a stretch) and the general feel-good Icelandic minimalist sound post-Sigur Rós. I still like it though. It's not at all original, and it's certainly among his lesser works (he himself confessed that it's not the kind of thing he enjoyed doing), but it does the sound really well. It's very pleasant.

Coolest thing in this film was the Frahms piece, which was always badass on its own anyway. This score, like much of his later work, is Richter on auto-pilot. Don't remember anything about the Balfe stuff.

Skyball