Mephariel

I tried 3 times and still can't get into this score. I honestly feel like every single note I heard from somewhere else already.

If I have to pick one single that Zimmer did recently where he sticks to the standard generic RCP sound, it would be this one, although I prefer his movie sounds by a mile.

Classic Scores 1. The Good, The Bad And The Ugly – Ennio Morricone 2. Lawrence of Arabia – Maurice Jarre 3. Spartacus – Alex North 4. The Way We Were – Marvin Hamlisch 5. Shaft – Isaac Hayes 6. The Magnificent Seven – Elmer Bernstein 7. King of Kings - Miklós Rózsa 8. Once Upon a Time in the West - Ennio Morricone 9. The Battle of the Bulge – Benjamin Frankel 10. Love Story – Francis Lai Modern Scores 1. Interstellar – Hans Zimmer 2. Titanic – James Horner 3. The Lion King – Hans Zimmer 4. Jurassic Park – John Williams 5. Gladiator – Hans Zimmer 6. Tomorrow Never Dies – David Arnold 7. Lord of the Rings: The Fellowship of the Ring – Howard Shore 8. The Land Before Time – James Horner 9. Memoirs of a Geisha – John Williams 10. Pirates of the Caribbean: At World’s End – Hans Zimmer

For me, The Day After Tomorrow is probably his second best film after Independence Day. Everything else is crap. I still can't believe 10,000 B.C. made it into the theaters.

They are great piano pieces for film. The reason "Light of the Seven" is so popular because it encapsulated the emptions of the storytelling perfectly. The build-up to a grand tragedy. Interstellar is extremely popular because the piano themes captures the mysteries of space, and discovery of science so well. I would argue that the simplicity of those pieces are what makes them powerful. Another example is Giacchino's "Exodus Wounds" in War for the Planet of the Apes. The piano writing is stupidly simple, but it cuts deep. To me, those pieces work just as well as other complex pieces in other movies. It is all about the story. This is film scoring, not concert writing.

Not only that, I love the composition of Westworld's theme and I think that is just as emotional as the theme in Forest Grump. Maybe technically not as complex, but it didn't need to be. Djawadi also wrote "Light of the Seven," which is one of the most popular piano pieces in recent times. I also love Tennessee as well, and is one of my favorites from Zimmer. As is the theme from Interstellar, including the piano frenzy at the end of "Coward." So I am not sure what is the relevancy of comparing their writing to Forrest Grump. Silvestri did a great job with that theme, but I think Djawadi and Zimmer's piano themes are beautiful as well.

To me, this bring up Badzeee's point doesn't it? Brian Tyler is a classical trained composer, and yet he hasn't wrote anything as memorable as Djawadi's GOT theme or ZImmer's Pirate theme. Film composing is mostly about storytelling with music. Tyler has pretty good music knowledge, but as a storyteller, he is average-to-good at best. Personally, I found his music to be cold and calculating, missing a lot of the warmth from top level composers. If you watch him doing a conducting session from "Crazy Rich Asians," it is like he is doing it with his professor watching his every move.

I believe so yes. I think there are a lot of composers that are willing to conduct music in live concerts like Tyler, Desplat, etc. Whether they conduct during the recording for a film is different story. Like what Richard is saying, a lot of them are more focus on storytelling at that point.

I think it is more that once in a while, people need some dumb fun. Dune: Part Two sort of satisfied the epic crave that people had, but not the dumb fun crave. I still don't think Ghostbusters have an audience beyond nostalgic fans.

I thought the Doctor Strange choice was more odd. If Jackie Chan could play a stereotypical kung fu master in The Karate Kid, I am sure they could have casted a Asian to be a mystical leader. I mean, they did it anyway with Wong and Mordo (stereotypical black mystic). Regarding Dune, I think since the story took place on another planet, Villeneuve got it right for having a mixture of ethnicities. With that said, I do get the point about casting more MENA actors. Yes, if they did that, there will still be criticism, but that is not really the point. The point is, at least MENA actors would have an opportunity to be in a world-class Hollywood film.

Kyle MacLachlan can act? Because he certainly didn't do any acting in Dune.

Honestly, if Austin Butler is British, he would be my pick. He has the looks, the charisma, and the sharp features for Bond. I also found it curious that Idris Elba has always been linked to a black Bond even when Chadwick Boseman was still alive. Because Boseman would have made a terrific Bond. The magnetic tension he has with ScarJo in this scene is what Bond should have with women. But again, he isn't British.

Gosh you are right. I meant to say Chad Stahelski because I was thinking about John Wick, Chapter 4. I just found it weird that a lot of Bond fans consistently want Bond to have less dramatic depth. Instead of adding more character and drama, let's be more like Fast and Furious and Transformers! Sure, Bond should be entertaining, but I don't want it to be just another action film.

LOL, I have the near opposite opinion. Please let Nolan or Villeneuve take a shot at this. Bond deserves to be in the upper echelon of technical filmmaking. Martin Campbell is 80 years old, and hasn't made a great film in years. If you want Campbell, why not just get David Leitch? He is a younger, more stylish Campbell. Bring on Zimmer or Göransson. I would actually love to hear a Göransson Bond score. But I agree with keeping Wishaw, Fiennes, and Harris but I also don't care that much. I am indifferent to Lynch.

I somehow doubt they would do a 40 something year old Bond. It takes them 4 years to make a film. He would be 50 in no time, and approaching 60 after 4 or 5 films. Not sure how they are going to attract a younger generation with a 50 year old Bond again.

The music out I only listened to it outside the series, and it is a ok score. Nothing really stood out, but quite accessible.

Breaking just now... The Supreme Court on Saturday agreed to decide whether the love theme "A Time of Quiet Between the Storms" can also act as a representation for House Atreides. In a one-page unsigned order, the justices ordered a federal appeals court to continue to keep on hold the distribution of the Dune: Part One sketchbook album in order to mitigate the possibility of evidence tempering. Composer Hans Zimmer dismissed the case, arguing that he has Oscar immunity, and cannot be persecuted for musical abstraction, a crime that carries up to 20 years in Clemmensen asylum. "I hate to call it a love theme," he added, "because it is so much more." He has yet to explain what "more" means. His assistant composer Steve Mazzaro emotionally urged the court to drop the case pleading that "Love is universal and can represent all things." Source: Deadline

It's...a step towards the right direction, but I wouldn't even say it is good. I usually don't mind synths, but the retro ostinatos around 1:17 sounds kind of odd and took me out of the tune for second. The main theme is a bit too nondescriptive and none of the composition really gel together that well. Lastly, it is just too on the nose. I get it, they are huge creatures, but I don't need every note to remind me of that.

What? https://collider.com/patty-jenkins-claims-rogue-squadron-still-happening/ So how long before another article reads, "Jenkins' Star Wars film is no longer happening?"

Watching Constellation on Apple TV. It is keeping me engage, but I am not complete sold this is going to end up in a satisfying manner yet.

It was probably King Solomon's Mine. And I am going to double down and say the main theme is one of his best (Some people make fun of it as a parody Indy score).

So Zimmer finally acknowledges two of his most beloved scores from the late 90s:

And thus the debate. For me, I have no stakes. To me, it is clear the theme is both a love theme (primary) for Paul and Chani, and a theme for the evolution of House Atreides (secondary). The film hinted this as well. If you recall, "A Time of Quiet Between the Storms" plays during the kiss scene, but also immediately serve as the background music for the montage that follows showing Paul's integration into Fremen culture. Zimmer also hinted this by saying "I hate calling it a love theme because it is so much more than that."

The second half of "House Atreides" is feature prominently here. Part of the stanza bleeds into Paul and Chani's theme, but it is not quite the theme either. Starts at 1:22 During the Armanda scene, the theme appears briefly Starts at 2:03 The entire 3:30 segment opening of "House Atreides" is only on the sketchbook in Dune 1, but is feature prominently in Dune 2 as the love theme. What was actually played in Dune 1 does contain some variations of it, but never the whole thing.

Why are people still arguing about this? The theme started as an opening for House Atreides, but only on sketchbook and not officially part of the musical canon. In Part 2, the theme was brought into the forefront to represent the love theme of Paul and Chani and the tragic journey of their relationship. The new version of the theme also takes on Fremen elements as Paul and Jessica and the Atreides are now being consumed by their culture. So it serves as both a love theme for Paul and Chani and to a lesser extent, an evolution of House Atreides.