Taikomochi

“The Meeting with Mao” has always stuck with me as one of the best uses of Williams’ music ever. Kind of throws water on any discussions that Williams only knows brassy bombast and can’t do dramatic scoring.

Most of us share the viewpoint that Hans Zimmer is an asshole and have found plenty to talk about.

@mstrox Ay, that’s a pretty good thumb drawing.

I can’t believe he apologized. I mean, it’s a good thing, but this is so weird Actually, yeah, nah, fuck him still for what is basically, “sorry but I was justified”

Is Gary Dalkin also a person that writes articles on film music? Seems like Hans was pretty specific on that point

Lick that boot harder, my dude. Zimmer was acting like an asshole. You can still like his music without excusing him acting like a cunt. Unless Southall has made other comments in that thread than the “exactly”, which I haven’t seen anyone else say otherwise.

Imagine being one of the most popular musicians on earth and still being such a fucking loser.

I haven’t seen the actual posts. Just this thread recounting:

Honestly, I’d wear it as a badge of honor if criticism I wrote made the artist have a tantrum like that.

It might be 300/Titus worthy if Williams hadn’t written cues that started that way prior to Haab’s work. Just seems like a generic Williams-ism

The second one isn’t convincing. Williams has written action cues that started that way like The Falcon. I dismiss that comparison since Haab could easily have imitated that cue. The first, though... I know it’s just a short phrase, but it’s extremely similar. I don’t know how to evaluate that. Maybe Haab was using sketches of unused cues from TFA that Williams ended up reusing? Not sure.

I just received an email that the Cleveland concert, which was indefinitely delayed since last April, is completely canceled now. I could have requested a refund, but I figured just donating the money to the orchestra is probably what Williams would have preferred.

I’ve always found it obnoxious critics shitting on JW for doing what he does. Critique the films for being sentimental and warranting a sappy score, perhaps, but not the score itself. Like the fuck did you expect for a film like War Horse? Reznor and Ross ambient fart noises? Maybe films like that or Dear Basketball are too sappy, but they have the scores their tones warrant.

I also feel like I can never understand song lyrics in most music, but I’ve had hearing loss in the vocal region since birth. I suspect that’s why I’ve always gravitated towards instrumental music.

Yeah, it’s still not quite the real McCoy, even if it’s damn close. I wouldn’t put it above any of Williams’ entries but it’s excellent nevertheless.