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Posts posted by TheUlyssesian
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The reason probably being that Williams doesn't consider two notes a theme.
Au contraries my dear. Jaws.
The Jaws theme has more than two notes.
Yeah. Its insulting to say its like a Zimmer theme.
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I'd go...
1. John Williams (E.T.)
2. Max Steiner (Gone With The Wind)
3. Dmitri Tiomkin (Red River)
4. Nino Rota (Amarcord)
5. Bernard Herrmann (Psycho)
6. Elmer Bernstein (The Magnificent Seven)
7. Victor Young (Shane)
8. Alfred Newman (Song Of Bernadette)
9. Henry Mancini (Breakfast At Tiffany's)
10.Sergei Prokofiev (Ivan The Terrible)
I have indicated the best score of the respective composer (IMO) in brackets.
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Neither.
Its a stretch to call them themes.
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Of course there's filmtracks, movie-wave.net
What else besides?
I remember there used to be a filmmusicsearch website of some kind, which used to search some 20 film music review websites (in many languages) and fetch results. Can't find it online anymore.
Any good film music soundtrack websites to recommend? Which are regular and up-to-date?
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ZIMMER GAVE ME A HEADACHE.
Saw the movie, the music was so loud it absolutely overwhelmed the movie. Like normal shots of people walking had enormous pounding to almost deafening levels. It just felt ridiculous and was a constant atmosphere killer. And it seemed like 10 minutes of music was composed for the movie and played on loop throughout the 2 hours 45 minutes. It went on and on and on and got louder and louder and louder to the point where the dialog was incoherent at times. A bullshit score and a bullshit soundmix. Movie was okay, nothing special.
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Who wants electronics any way? I find them crude and prefer scores which avoid them.
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What do you think?
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The man has written better MUSIC than Williams on multiple occasions, actually. Plus how is he whoring himself out if all his movies from the past 2 years have essentially been sequels to films he's scored? You want to him to ditch those and do something else or warm the bench?
Um.. if lets say Williams dropped grains randomly on a piano, THAT itself would create better music than Zimmer could compose at the height of his faculties after devoting years of thought to his composition.
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Actually it sounds like a big JWFan prank. I wouldn't have been surprised if that was this years April Fools joke. It would have been a lot funnier than the time you guys tried to trick everyone that Zimmer was helping out with Tintin.
But alas, its all true.
Zimmer could work his entire life and still not write a score close in quality and complexity to Tintin. Williams casually knocks out more memorable themes in a single movie than Zimmer does in a dozen. As the Filmtracks review says, Zimmer has absolutely whored himself out and writes trash these days. To call what he writes "music" is to devalue that term.
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Filmtracks tears apart The Dark Knight Rises Score.
Some choice quotes.
"Buy it... if you've bought into the hyped notion that Hans Zimmer's music for the prior two films in this franchise is the work of a genius"
"Zimmer, in the process of intellectualizing everything he does for his major assignments, somehow manages to make contradictory and senseless statements all too often. He has declared in recent years that he would retire after his next assignment (which did not happen), develop franchise themes in radical ways (which has not happened), and explore revolutionary new methods of applying music to movies (which has not happened, either)."
"beneath the glitz and glamour is a composer whose music has become stagnant and underachieving."
"Nearly everything Zimmer has stated about this score is a gross exaggeration of what he actually accomplished, predictably causing the usual eye-rolling from Zimmer skeptics who regularly lament the difference between the composer's spoken intentions and his underwhelming results. Fans of his will not care; in fact, they will declare "intellectual" film music enthusiasts to be party-poopers and continue blasting Zimmer's music to their balls' content."
"not disputed by many enthusiasts is the fact that The Dark Knight Rises really does reprise much of what came before, even emulating Pirates of the Caribbean: On Stranger Tides in its technique of yanking exact cues from the prior scores for new applications."
"The main theme is still only two notes long, a rising minor third that does absolutely nothing to convey the complexity of Bruce Wayne's existence. There is still no dichotomy between minor and major key usage to denote this man's two personas. Zimmer's promise in 2005 to flesh out this theme when Batman matures is ignored."
"A score that almost never changes key is one that is not capable of being nimble in its response to changing emotions on screen, and if you wonder why so much of his music seems to drone along in boringly derivative fashion, then the key has much to do with this stagnation. Always using the same key must make life easy for the army of ghostwriters, though!"
"you also have to mention the lack of diversity in instrumentation and tone, as well as the continued reliance upon figures (like low string ostinatos) that remind as much now of Steve Jablonsky's Transformers music as their appropriate heritage"
"The totality of the dwelling in the bass region has reached the point of laughability. Any veteran composer can unleash horrifically rumbling, masculine force from the bass while also employing concurrent appeal from the treble, a technique Zimmer still chooses not to attempt. Again, this refusal to explore the full spectrum greatly diminishes the composer's ability to address emotional range."
"There are, of course, no woodwinds in this score. The violins seem mixed far in the background."
"Zimmer's evolution of music for the franchise, both in terms of tone and theme, is completely nonexistent."
"In "On Thin Ice," Zimmer torments listeners with the possibility that this main theme will gain at least a third note, but this idea is subsequently abandoned."
"the composer doesn't feature these vocals in such a way as to really make an impact on the score. They exist, and they serve their purpose, but they are not as obvious as the obnoxious, single-note theme for the Joker in the prior movie and the same results, quite honestly, could have been generated in studio without all the public relations fuss. Like most aspects of this score, the chants represent the great promise but very little delivery from Zimmer."
"Don't be fooled into thinking that these scores are the high art that the composer's interviews suggest, however. The fanboys will feast on its loyalty while the intellectuals will expose its many faults."
"Between the extremely irritating release format of the soundtrack on album, Zimmer's continued promises of greatness that go unrealized in the finished product, and the inexplicable hype that surrounds this franchise's music, you receive music that is functional at best, mediocre most often, and insultingly simplistic at worst. The composer needs to shut his yap, dump the ghostwriters, shift to F major, conjure a fluid theme, and drop a wicked oboe solo on us. Perhaps then he'd deserve an interview."
So that was that.
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Red River is a fucking masterpiece. I'd put it in my Top 10 favorite scores. He was also a great theme writer, wrote some of the most enduring film themes.
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It will sync up, that's what I am saying, its just a general composition. Take the action music in John Carter or Tintin or How To Train Your Dragon or any Elfman or Horner or Williams or Giacchino score, the music mirrors the action. This is how you get magical movie music moments like when Williams' crescendo syncs up perfectly with Tintin's punch to the henchman at the begining of Escape From Karaboudjan.You can't comment on it being plastered in the background and not synching to picture.
You say the score will synch up (without seeing the film, mind you) but proceed to criticize it for not synching up? What are you talking about?
Its rather obvious what I am talking about. The music will sync up in a general way, like music fits montage. No big deal.
But it won't sync up with the film in a specific action-mirroring way like it does in superior scores.
That's why I call it wall-paper, its just uninspired wall paper music, compose and apply as you want in the background, not that removed from Trent Reznor's "scores".
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It will sync up, that's what I am saying, its just a general composition. Take the action music in John Carter or Tintin or How To Train Your Dragon or any Elfman or Horner or Williams or Giacchino score, the music mirrors the action. This is how you get magical movie music moments like when Williams' crescendo syncs up perfectly with Tintin's punch to the henchman at the begining of Escape From Karaboudjan.You can't comment on it being plastered in the background and not synching to picture.
This is not the ONLY way of film scoring but all I can say to Zimmer is atleast put some effort. His Batman scores are just LOUD. These scores could be composed by some first year music student with a fail grade in some third rate music academy.
Michael Bay:Movies::Hans Zimmer:Film Scoring (specifically Batman)
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1. The music which plays when E.T.'s plant comes back to life at the end. It almost makes me cry with happiness. It just a few bars of the flying theme but they are played in such an uplifting manner.
2. 12:38 There is a monumental finality to these orchestra crashes like the sound of a million hearts breaking at the same time.
I still find it incredible that for such a small and intimate film, E.T. has such a huge score.
3. Entry into the Great Hall in Harry Potter 1.
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It just seems like the air itself is swirling with magic and mischief in it.
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Dunno but when Eric's Theme plays during the finale at the Olympics, your chest with swell with passion as only sports movies can do to you. It is triumphant.
Guys, give the movie a chance, its a good old fashioned sports movie but very very well done. And like I say, the finale is really stirring.
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Its a good movie, and a good score. And the famous main theme, that's just a credits theme! Never played during the film.
This is the theme which carries most of the dramatic burden in the film and boy is it a beauty. Its a simplistic theme, but it is stirring and played during the magnificent climax, its unforgettable.
But yeah, this had no business winnning over Indy. I mean how???
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I have listened to the entire album now and I can only give it a very generous 1/2 star out of 5.
I feel kinda incredulous. This is really supposed to be a major score for a major movie by a major composer? This?
This is basically garbage. Is this what Zimmer "composed"? It’s just banging pounding driving percussion overlaid with some farting horns. How long did it take to compose? 3 days?
This kind of scoring is not for me I guess. I guess Zimmer thinks himself above melody or themes; this is a charmless graceless bore of a score, the kind which I call "montage scoring". This is against the essence of film scoring, these tracks or whatever they are could be plastered as sonic background anywhere in the movie as desired, it’s not like this is specific scoring, it’s absolutely indiscernible what the music is trying to convey except ear-splitting loudness.
This will probably have many fans as it will be mixed so loudly in the sound mix of the movie that it would just blare from the speakers drawing attention to its loudness at every point in the movie and people will think it’s a great score. I wish a discussion could be had about its merits as a composition divorced from the movie it has been assembled for which gives everything associated with it a touch of hysteria. Already on many forums I see fans describing it as one of the best scores of the last few years.
Different folks, different strokes I guess. But I am never listening to this ever again.
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Tintin for me as I personally think its one of his best works and a modern masterpiece. Probably the best score I have heard since Ponyo.
War Horse is good but a very fragmented listening experiecence. The first and last thrids are completely different from the middle portion making it very disjointed. Also the WH themes are slightly simplistic and pastoral, not having the verve or imagintion of some of his best themes. But a nice work.
Indy 4 is also an enjoyable score. I would probably rank it second out of the 3.
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As for Patrick Doyle, I don't think that he has done a better score than Gosford Park, both on and off the screen.
How about Henry V? That contains some really momentous music. Like this -
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La Luna I don't think they made the music avilable. The FYC Site is still up but their is no music uploaded.
http://www.waltdisne...ds.com/la-luna/
And might I add, La Lune was one of their loveliest and most wondrous shorts even though Brave itself wasn't up to scratch.
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Okay guys, seen it. The movie is good. Solid but ordinary. The earlier one was much better.
The music though - I must say Horner's theme works very very well in the movie. He uses it almost constantly, whenever Spidey appears and even for Parker. By the end of the movie you will remember every note. Its a really good theme in the context of the movie, haven't heard the score on album so can't comment much about that.
One complaint would be that it is a tad to optimistic, so even when it is played during darker scenes, it can sound slightly anachronistic. Also its a melodic theme unlike Elfman's kinda progression like theme. Consequently I think Eflman's theme gave a greater sense of scope since Horner's theme while good is not a total knockout. But again, very satisfying within the movie itself. The rest of the score was also good.
I'd say chalk this up as second to John Carter amongst the summer scores. Its better than Brave's score.
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I feel like Nolan wants to have it both ways. There is the pretense of reality but it has its share of fantasy elements - beginning with an adult grown man roaming around dressed up as a bat.
If it were straight out comic book fantasy, like every other superhero movie ever made, you wouldn't bat an eyelid, but this insistence that it is all real gives the movie a very absurd tone and makes it borderline preposterous when something fantasy-like happens. Comes with the territory I guess, you gain something by this approach, but you also lose something.
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E.T. and then Schindler's List.
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This is exactly the kind of theme the character needed - muscular, swaggering and macho. And the male grunting pumps up the virility even more.
This was a very unabashed kind of theme and I really liked it simplicity. The only down side is there is no real interlude, just some percussion, its just the 4 phrase theme over and over, otherwise this could make a really badass concert piece. But Silvestri can still put together one and I hope he does it, love his Captain America March.
Any fans?
Is John Williams a 'household name' in the US?
in JOHN WILLIAMS
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Alas the answer is no. You are giving too much credit to general audiences these days if you think they give a flying fuck about anybody apart from actors.
Forget composers, many people don't even know the name of the director of the film they just saw neither do they care to find out.
I can say this though, anybody, who is even slightly inclined towards film music knows his name, but then he would also know the name of Zimmer.
So Williams is no more or less famous than any of his contemprory film composers. More people definitely know Miley Cyrus and Gaga and even Jersey Shore than John Williams. If that doesn't make you feel terrible about people, nothing will.