Indianagirl
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Posts posted by Indianagirl
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I'm really hoping for an amazing score that is original but feels more in the vein of the OT.
Fingers crossed this will be something special.
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Once a woman has childs, it becomes the center of his universe and nothing, understand me, NOTHING exists that is more important than them.
Sometimes that is true and sometimes it isn't.
There are just as many bad and unfit mothers as there are fathers.
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All his non-Goldsmith films beside Blade Runner suck.
I disagree.
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He hasn't made a good film since Legend.
Have you seen the directors cut of Kingdom of Heaven?
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Oh well duh lol. I thought..never mind. blond moment
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Thinking in terms of *film* music and not just music:
ROTJ > ROTS > ESB > ANH > AOTC > TPM
On a purely musical basis:
ROTS > ROTJ > AOTC > ESB > TPM > ANH
Just curious. Can you explain the difference between your film music basis compared to your purely musical basis?
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(must revisit it if it wasn't for the film being so bad that hearing the music reminds of the "i want your body m'lady" dialog.)
Anakin never should have been a whiny teenager.
I have high hopes for the next trilogy score. If what we've heard is true this is going to be amazing.
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I'm not a prequel hater. I'm not naive either. The Originals were far superior to the prequels. The Scores as well as the films. That doesn't mean the scores for the prequels were bad. I think Across the Stars was a beautiful piece of Star Wars music. In my opinion John Williams writes to and defines what is on the screen better than any composer in history. Maybe a better way to put it is he musically interprets what is on the screen better than anyone I know of. He defines it. Who can think shark and not simultaniously think of the Jaws score? Admit it anytime you see a representation of a dinosaur, whether related to Jurassic Park or not, John's Jurassic score comes to mind. I think this is why the scores to the original trilogy are superior to the prequels. He is THE absolute master at musically interpreting what is on the screen.
I say this as one who does not have a background in music. But as a lover of films and film music....that's how I see it.
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For me I can tell I am more tempted to purchase a complete or expanded score than an original release. I am very much considering buying Jaws 3 (I used to watch it with my brother when I was little) on the intrada website and I doubt I would even consider it if it had 9 or 10 tracks.
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I had to look Ostinato up. lol
I see what you mean.
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I've been working on an essay to articulate my feelings on Zimmer for a long time, but it's not really ready to be posted. In terms of writing memorable, intricate melodies, he's truly one of the greats. There are themes in Zimmer's scores (the Jamaican Heroes theme from Cool Runnings, Mufasa's theme from The Lion King, Davy Jones from Dead Man's Chest, "Deliver Us" from The Prince of Egypt to name a few) that I'd say are in the same stratosphere as John Williams' best. Zimmer's problem comes in that he doesn't have a strong enough musical background to embellish those melodies into a strong finished product, and on the packed schedule he has, there isn't enough time for his orchestrators to do that job for him, so what you end up with is music that, while often quite memorable and at times even astonishingly beautiful, is lacking in complexity and development. If you aren't exposed to more challenging music than the Top 40, that's fine, but if you're exposed to classical, jazz, older film scores, or even (I would say) metal, his scores often come across as over-simplified. And that's before you get to the overall sound of most of his scores. They're not mastered like classical music; they're mastered like pop, and the compression and amplified bass make the use of samples and synth percussion, at least to me, stand out like a sore thumb and make the end product less enjoyable than if he's simply used a conventional orchestra.
That was maybe the most interesting analysis I've read on the subject.
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I liked Desplat's Grand Budapest Hotel
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Or even forcing talented composers to dumb down their work so that it conforms to the Zimmer Factory aesthetic. In other words, they're all missed opportunities.
Who out there right now has been forced out? I could be wrong but it seems to me like there aren't that many talented composers out there right now.
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I don't mind aesthetic changes from time to time either. I like many of Zimmer's scores quite a lot. But I do hope the new Star Wars knocks our socks off in the classic John Williams style. I hope there are new themes that are as memorable as old themes. I feel like cinema is prime for a return of that type of score and feel. I know I am.
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I'm going to take a stab at this because I'm a glutton for punishment.
I think Hanz Zimmer is a good film composer. He has his own style which may not be for everyone but he can churn out some interesting work. He is very good at what he does. The problem may be that what he does isn't what John Williams or Jerry Goldsmith or even James Horner did. It could be that a lot of the annymous comes from that we are living in an era where we don't get those types of scores very often anymore. In fact I feel like a lot of movies today don't even have scores. In many cases it's just noise. But I don't believe Zimmer falls into that category. I think the problem is that he is overflooding the market. And those movies that he doesn't do often sound like cheap imitations of him. Gone are the days of the great score that would knock your socks off and the entire world could hum by the mention of the films name. And that makes some people angry and Hanz Zimmer becomes the natural punching bag through no fault of his own. At least that's my theory.
I miss those old scores too. Here's hoping Star Wars the Force Awakens will be just that.
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It almost seems as if the "Zimmer sound" is the only game in town these days.
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I like Hanz Zimmer. He isn't my favorite but I do like him. At times he's very good. What I don't like is seemingly how most movies nowadays try to sound like him. Or that is how it feels to me.
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I just listened to interstellar tonight. I hadn't heard it before. It is definitely top ten material.
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1. The Lion King (I admit bias)
2. Inception
3. The Thin Red Line
4. Pirates of the Caribbean: At Worlds End
5. The Da Vinci Code
6. As Good as it Gets
7. The Last Samurai
8. The Peacemaker
9. Pirates of the Caribbean: On Stranger Tides
10. Pearl Harbor
#9 is interesting. I'm not sure I've ever heard someone speak well about that!
The movie itself was a let down but I especially liked the mermaid sections of the score.
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They aren't officially OOP, and Doug Adams often posts that they should come back in stock in the future.... but at this point they haven't been in stock anywhere in months if not years and no one seems to REALLY know if they'll ever be again or not.
The ROTK one is on Spotify
I hope they comeback in stock. I'd love to have them.
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I just looked up the complete scores to Lord of the Rings and they are going for hundreds of dollars
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GAME: I have singled out one beautiful but neglected little score, and the first person to list it as a favorite will win a special prize for fine taste!
There's too many of those in his career to list! What kind of score is it?
It's Cool Runnings
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1. The Lion King (I admit bias)
2. Inception
3. The Thin Red Line
4. Pirates of the Caribbean: At Worlds End
5. The Da Vinci Code
6. As Good as it Gets
7. The Last Samurai
8. The Peacemaker
9. Pirates of the Caribbean: On Stranger Tides
10. Pearl Harbor
What are your Top 10 film score action tracks NOT composed by JW?
in General Discussion
Posted
In no particular order
https://www.youtube.com/watch?v=9BlUumhXw1Y