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john williams is awesome and so is hans zimmer!


sweethaley85

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i grew up listenin n playin john williams music but lately ive really gotten into hans zimmer.. i jus got the new soundtrack to pirates of the caribbean #2 while workin at umg and its pretty good. POTC #2 soundtrack has a cool mix of techno-type beats, orchestral melodies and vocal underchords. if you havent checked it out, visit www.disneyrecords.com/pirates2 and let me know what you think!

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Hi there.

Don't expect many people here to share your sentiments on Zimmer. Especially not the PotC scores.

There's a big thread on the Dead Man's Chest score here, though.

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Welcome to the forum Haley. You're half right on the Williams/Zimmer thing. You won't find TOO many Zimmer-philes on this board (myself included, I'm afraid). Mention Michael Giachino (or whatever his name is!) and you'll probably make a few friends though :D

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you lost me at Hans Zimmer,

Joe, who is convinced that Hans Zimmer and Jan Hammer are one and the same.

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Yeah, people who say that, are probably readily convinced of lots of other things as well.

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I've avoided every Zimmer thread until now because I didn't want to partake in all the Zimmer bashing that goes on here. I'll admit to liking some of Zimmers scores such as The Lion King, Crimson Tide, and Gladiator. I tend to think that most people don't like him because he shares the responsibility of writing scores with others (Klaus Badelt) and he relies more on synths than traditional orchestras. I base my appreciation of Zimmer on what the score sounds like rather than how it was made and who it was made with. I even just bought POTC 2 because I have always enjoyed hearing Jack Sparrow's main cue. I just need POTC 1 now.

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That's nonsense. It's not just "old school" or Zimmer - there are modern styles of scoring that I'm very fond of, just not Zimmer's particular style.

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john williams is awesome and so is hans zimmer!

Not 100% right there. John Williams is a whole a lot better then Hans Zimmer. Althought Hans Zimmer is good composer but It is impossible for both of those two to be both good considering they both have different stye and John Williams use a very large real live realistic orchestra while as Hans Zimmer use a small or large orchestra and he somehow edit the real live orchestra recording by putting very thick synths sounds over the real live orchestra to boost it up. John Williams just use mainly live orchestra, which he just leave it as that and he does use a little bit of synth but he use it very carefully.

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Not that we shouldn't be allowed to discuss other film composers but THIS IS A JOHN WILLIAMS SITE! Isn't there a bloody Zimmer-site that all Media Ventures lovers can populate and gush endlessly about how great Zimmer & co. are?

If Zimmer had a closer style to Williams, than discussing him would be more relevant but the number of times his name has appeared on this forum has me questioning whether I'm at the right site half the time.

Maybe Zimmer is the "in" thing insofar as the way he scores films nowadays, but musically he's a mouse compared to Williams. This point isn't even debatable. Even Williams' poorest effort is marked with more overt musicalilty. One has but to check his Conductor's scores out to see the level of complexity and dynamism in his music.

Zimmer's shiftless pads and unimaginative chord progressions fail to do anything for me except have me reaching for the ear plugs (or power switch- whichever is closer) most of the time. And his music has actually RUINED films or scenes in films I otherwise liked (like LAst Samurai).

Williams would have done a stellar job on POTC:DMC hands down. Remember he's progressed like any good artist has and I doubt he would have written a score like HOOK (even though the Prologue from that score easily tops anything from both POTC film scores). I would have loved to have heard a milennium Williams post War of the Worlds score POTC. Otherwise I would have settled with Arnold or Shearmur.

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Williams would have done a stellar job on POTC:DMC hands down.  Remember he's progressed like any good artist has and I doubt he would have written a score like HOOK (even though the Prologue from that score easily tops anything from both POTC film scores).

Of course the thing is, that the producer and director didn't want a score like Hook. They wanted a score like Crimson Tide.

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Zimmers music is masculine!!! ( i am surprised some board members don't like him for that reason) 8O

and ps i am not some 14 year old kid.

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Zimmers music is masculine!!!

Interesting! What would be feminine music then?

I have a problem with giving music freudian sexual characteristics. If I would do so, Hans Zimmer's music probably would be best described as gay:

Penetrating my ears with its monstrous size while being overladden with moaning male choir.

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Apparently, they didn't want the score to be predictable same-old stuff.

Well, not same-old pirate stuff, anyway.

As if John Williams would use the same theme from Hook for Pirates of the Caribbean or a theme something close to hook, if that what you thinking. Pirates of the Caribbean is a different pirate movie compared to the Hook movie. Different story. Different Pirates. Different world. Hook theme wouldn't even match Pirates of the Caribbean anyway, so John Williams would have no choice but come up new themes of his own which probably maybe sounded ever better. Pirates of the Caribbean is the best pirates movie I ever seen.

Beside John Williams is smart enough to know that, in the way John Williams is kind of a freak film composer these days now, which is all his experience he had, choosing the right directors such as speilberg and George Lucas, and others movies that interested doing such as Harry Potter.

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Conan O'Brien seems to like Hans Zimmer.  "He's the best!"

Did Conan really say that?

8O

~Sturgis

Yeah, the other night when he did some funny movie reviews. Uma Thurman was the guest if you're not sure which one to find if you want to see it online.

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Zimmers music is masculine!!! ( i am surprised some board members don't like him for that reason) 8O

and ps i am not some 14 year old kid.

Can you please explain how Zimmer's music is masculine? And what would feminine?

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feminine equals chopin waltzer. feminine = schubert, tchaikovsky. brahms = masculine, beethoven = masculine. feminine music is delicate. zimmers music is full of strong beats, ryhtmic phrases, baritone lines - in fact most of his music hovers low if reduced to piano. Chopin's music sounds like he was gay, which he was. The lines intertwine each other, there are turns and delicate piano, quiet phrasing, even at his most bombastic (ballade no 4 coda) his music does not have the power that brahms gets in all of his music, including the quiet stuff. Same with Tchkvsky and Schubert.

not that its bad i love chopin, and women, but you get the point.

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feminine equals chopin waltzer.  feminine = schubert, tchaikovsky. brahms = masculine, beethoven = masculine. feminine music is delicate. zimmers music is full of strong beats, ryhtmic phrases, baritone lines - in fact most of his music hovers low if reduced to piano. Chopin's music sounds like he was gay, which he was.  The lines intertwine each other, there are turns and delicate piano, quiet phrasing, even at his most bombastic (ballade no 4 coda) his music does not have the power that brahms gets in all of his music, including the quiet stuff. Same with Tchkvsky and Schubert.

not that its bad i love chopin, and women, but you get the point.

That's a pile of crap.

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Zimmer's music is like a middle school football jock who's the most popular kid in town because he pays a team of six students to update his MySpace while he works out for six hours a day and hits on girls three years older than him.

That would explain the masculinity. I also have an alternative hypothesis wherein Zimmer's music is a chronically depressed "emo" kid, but I think I've made my point.

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feminine equals chopin waltzer.  feminine = schubert, tchaikovsky. brahms = masculine, beethoven = masculine. feminine music is delicate. zimmers music is full of strong beats, ryhtmic phrases, baritone lines - in fact most of his music hovers low if reduced to piano. Chopin's music sounds like he was gay, which he was.  The lines intertwine each other, there are turns and delicate piano, quiet phrasing, even at his most bombastic (ballade no 4 coda) his music does not have the power that brahms gets in all of his music, including the quiet stuff. Same with Tchkvsky and Schubert.

not that its bad i love chopin, and women, but you get the point.

Hahaha, you're talking out your ass something shocking right there, particularly the Chopin comments. And the whole generalising of the mammoth bodies of work of each composer you mentioned. In fact, it's all ridiculous!

:)

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Apparently, they didn't want the score to be predictable same-old stuff.

Well, not same-old pirate stuff, anyway.

As if John Williams would use the same theme from Hook (...) John Williams would have no choice but come up new themes

Well duh.

But still, the point remains, that John Williams is clearly not the type of composer they wanted for PotC.

- Marc, who'd rather have had an Alan Silvestri PotC above anything else.

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I'd rather have tracked-in CutThroat Island. :)

But an Alan Silvestri score would have been fascinating to hear - simply because I have NO IDEA at all what it would be like.

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feminine music is delicate. (masculine) music is full of strong beats, ryhtmic phrases, baritone lines

John Williams must be bisexual then.

Or a complete pervert, since he can write almost any kind of film music...

So...Is mickey-mousing zoophylic music? :roll:

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You guys laugh but if you all classify music by adjectives (borring, repetitive, crappy, etc.. ) then can your feeble brains not abstract sexual references in music? Like the saying goes, "Brutes abstract not." Sexual reference is an acccepted part of academia musical descriptions. I am sure you can all recognize the alto sax, we call it "alto sex" solo for sexy moments, surely that is not the only sexual reference in music.

Anyway some of you need to get it through your heads that JW is not the first call for all action/adventure movies anymore!

I don't care if you don't like Zimmer, just support your opinions with supportive statements.

=Pi (who listens to Amistad alot now)

feminine equals chopin waltzer.  feminine = schubert, tchaikovsky. brahms = masculine, beethoven = masculine. feminine music is delicate. zimmers music is full of strong beats, ryhtmic phrases, baritone lines - in fact most of his music hovers low if reduced to piano. Chopin's music sounds like he was gay, which he was.  The lines intertwine each other, there are turns and delicate piano, quiet phrasing, even at his most bombastic (ballade no 4 coda) his music does not have the power that brahms gets in all of his music, including the quiet stuff. Same with Tchkvsky and Schubert.

not that its bad i love chopin, and women, but you get the point.

Hahaha, you're talking out your ass something shocking right there, particularly the Chopin comments. And the whole generalising of the mammoth bodies of work of each composer you mentioned. In fact, it's all ridiculous!

:)

Quoted from

Chopin at the Boundaries: Sex, History, and Musical Genre

by Jeffrey Kallberg

The complex status of Chopin in our culture--he was a native Pole and adopted Frenchman, and a male composer writing in "feminine" genres--is the subject of Jeffrey Kallberg's absorbing book

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