Dixon Hill

First DoS trailer!

Morricone and Zimmer have been doing it for decades... It's kind of a double-edged sword. On the one hand, recording or at least mocking-up music early on during the production might eliminate the filmmakers' desire to use other temp music, which might allow for a more original and organic score. But you also run the risk of forming a totally wrong concpet for the score because you haven't actually seen and experienced the film and neither has the director. That being said, Morricone and Zimmer obviously have the method down, and the Wachowskis do as well. I know that's how they worked on Cloud Atlas; not sure about The Matrix.

It was essentially "What Are You Going To Do When You're Not Saving The World?" in slightly abridged form.

I was into it last October when it first came out, but I've been getting into Cloud Atlas as a film and score again lately. Tom Tykwer, Reinhold Heil and Johnny Klimek delivered a really original and engaging score for what I thought was an astronomically underappreciated film. Some beautiful themes, and really crafty developments of them. And a really delightful range of style, from the sensual Cloud Atlas Sextet, quasi-film noir music, some electronic stuff, with a more contemporary idiom that ties it together. The recording is also really satisfying too; being able to hear breathing and page turns in a modern score is a great thing.

Yes, you obviously are! Good! That's the response I expected, whether serious or not.

Well I've heard the score in its entirety. I liked it. I guess I'll go ahead and come out of the closet on this forum as a Zimmer fan. -The themes are agreeable. Yes, agreeable. I don't listen to Hans' music for the elegant craftsmanship: I listen to it because I enjoy it. And these are enjoyable themes, to my ears. Although Zod's motive is somewhat underwhelming... your usual bad guy minor rumblings. Oh well. -The noise/"sound design" is really at a minimum, with the exception of some weirdness in "Are You Listening, Clark?" that can at least be understood in context. -The whole drum circle thing doesn't exactly come through, no. It's there, but maybe not as much of a centerpiece as one would think. -The electronics/synths are handled well as always with Zimmer; things are appropriately spacey and extraterrestrial for the story. That is, if you can deal with electronics and synths. Some folks just can't. -The album can drag a bit, as Hans' albums are wont to do, and things are certainly not in order. Another oh well. -Finally, there are some surprisingly fresh, complex (relatively) moments, and more than a few instances of really vintage 90's Zimmer sound that made me smirk. I don't think this is a bad score, or a disappointing score. I think it has its own identity which will be even more pronounced when coupled with the film. Banal? Not really. What I assume is Clark's theme is appropriately humble and human. What I assume is the main Superman theme isn't anything groundbreaking, but it doesn't offend me, and I don't see it as a depressing sign of the times or the death of good film music. I can dig it. I think it'll work well in the context of the film, and like many Zimmer scores (for me), it'll have its share of moments worth replaying outside the film. Perhaps I'm just less refined than some? As I plan on sticking around here, I suppose it's good to get this out of the way. Add another pro-Zimmer name to the board. And just to earn some musical credibility, my listening of this score was preceded by some Goldsmith and was followed by Copland's 3rd Symphony and his Clarinet Concerto. So don't fear, I'm not one of those "epic" fanboys.

I suppose I may have been over-zealous haha. I don't disagree with you, but there are moments, maybe moreso in stills like that poster, where things still feel very organic to me. Certainly in no small part due to Alan Lee and John Howe.

Tywin chewing out Cersei or Joffrey are some of the most satisfying moments in television or film, for me.

See I had that reaction when I saw it in 3D, but in 2D it seemed much more familiar. I think that was a lot of it, but I can understand what you're saying. I wonder how much of that is because of the del Toro influence... the stuff that seems a bit more overtly "fantasy."

It does look a tad cartoonish... but it still feels like Jackson's Middle-Earth, if you know what I mean. I think when this trilogy and the LOTR trilogy can be viewed in their entirety, one of the greatest strenghts will be the aesthetic continuity of pretty much every aspect of the films. The world always feels the same, and always real. Say what you will about the tonal consitency....

Everything you do is greatly appreciated Doug! "The Music of The Lord of the Rings Films" is such a treasure both as a composer and a fan of Tolkien in general.

That's disappointing. The Radio City events were some of the most enjoyable experiences I've ever had. I actually saw Shore during the Fellowship...it was just me and him standing by the bar. Couldn't bring myself to do the whole "big fan" schpeel.

I'll have to do some digging then, Prometheus. And that's a mighty fine offer Marc. I'd appreciate it.

Taking the plunge and registering in order to play. Hi everyone! #3 is Unbreakable. Nifty little tune. Also, that excerpt from Lost - do you know what cue/what episode it's from? So familiar but I can't place it. ALSO...where exactly do you acquire these full scores?