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Are all JW fans in agreement that Hans Zimmer DOES write a good melody?


Quintus

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Pretty militaristic.

Ooh, there we go. That is way more apt than what I tried to say. Still, just using "pretty" in the phrase does not prove your point, I do not think.

You understand what I am trying to say, yes? Do you consider "Imperial March" to be "pretty"?

No, it's not "pretty" in the "Marian's Theme" way of being pretty.

But, do you notice something here - and I think this was something Socrates was getting at - most of us don't use words correctly. That's something we're all guilty of. And the meaning the words have and the meaning we think they have can be two different things. Which is something the Internet has exposed to its height.

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But, do you notice something here - and I think this was something Socrates was getting at - most of us don't use words correctly.

Are the correct meanings correct because we don't use them, or do we not use them because they're correct?

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But, do you notice something here - and I think this was something Socrates was getting at - most of us don't use words correctly.

Are the correct meanings correct because we don't use them, or do we not use them because they're correct?

No, we use the words in ways they were not meant to be used, thereby causing confusion.

I think a better question would be is Nick a whore because he sleeps around or does his sleep around because he's a whore. :lol:

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Zimmer's best power anth---err melody came about 4 to 5 mins into "The Battle" in Gladiator.

I don't think even Mark can call that utter garbage. :lol:

Are you talking about the part more like 6 minutes in? Before that, it's mostly just Mars ripoffs. If so, I disagree. It's far from my favorite. I think he improved upon it with Pirates.

No, we use the words in ways they were not meant to be used, thereby causing confusion.

Ah, but that begs the question of whether words mean what we intend for them to mean, or what they were originally intended to mean...

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I can't believe I stepped out for three days to see this foxtrotting debate is still going strong.

I also can't believe we're using the tenets of a long-dead Greek philosopher to argue the scientific validity of pre-weighing the opinions of individuals based on the merits that they're not qualified to either have opinions or believe them.

Because we may as well use the tenets of Plato and Aristotle to declare why our concepts of classical and quantum physics are all wrong. And if that's the case, I'll be having your computer now, if you please, because Plato and Aristotle didn't think long and hard enough to make such a complex machine possible.

This debate got silly long ago. I'm going now.

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Enough with the disclaimers! It spoils the piss-take, which I assure you I am quite comfortable with :mellow:

Being silly is my reason to live. Well, that and my charity work in Darfur.

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Did I miss it or did none really mentioned The Thin Red Line? There are some very good melodies - e.g. in tracks like Lagoon or Stone in My Heart.

I very much like Zimmer's melodies in Rain Man, Beyond Rangoon, The Holiday, Hannibal, PotC: AWE and some other scores. He is certainly capable of writing good and ear-catching stuff from time to time

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Listened to The Prince Of Egypt today on the way to work.

Surely "Chariot Race" is a good melody? I think it's marvellous! Really fun and upbeat. :)

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Listened to The Prince Of Egypt today on the way to work.

Surely "Chariot Race" is a good melody? I think it's marvellous! Really fun and upbeat. :lol:

There are several good melodies. The God theme is quite good, and excellently handled throughout the score ("The Burning Bush" is a definite highlight, and I love how he ends the score with that last variation in the unused finale cue). Moses's theme is pretty good as well.

I do quite enjoy the "Chariot Race" theme, also. My only real issue with the score is, again, the unfortunate use of synthesized instruments. Sometimes it works, but there are times, like in "Goodbye Brother" where it just grates because you know it would sound so much better with the real instruments. I hate when he does that with the brass--it almost starts to sound like a section of muscular kazoos.

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I love how he ends the score with that last variation in the unused finale cue.

I like the unused finale cue, but I like the one from the film (i.e the instrumental variation of "Deliver Us") much better.

Granted the unused piece is far more powerful (in my opinion), but the other cue just seems to fit the film better.

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There's an emoticon for that, y'know?

Okay, maybe minimalism is not technically the correct term for the scores I'm talking about. But I'm glad. Crap like that doesn't produce a hypnotic effect like it's supposed to, it just gives you a headache. That's also why everything Philip Glass does sounds exactly the same.

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Okay, maybe minimalism is not technically the correct term for the scores I'm talking about. But I'm glad. Crap like that doesn't produce a hypnotic effect like it's supposed to, it just gives you a headache. That's also why everything Philip Glass does sounds exactly the same.

When you say "you," are you speaking for yourself or presuming to know how everybody reacts to minimalist music?

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Okay, maybe minimalism is not technically the correct term for the scores I'm talking about. But I'm glad. Crap like that doesn't produce a hypnotic effect like it's supposed to, it just gives you a headache. That's also why everything Philip Glass does sounds exactly the same.

When you say "you," are you speaking for yourself or presuming to know how everybody reacts to minimalist music?

I'm speaking for myself. But I don't know how one can say Glass's scores don't sound the same.

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Probably, yes. I do not think it is "pretty", nor "beautiful". I think "dirty" would perhaps be more apt of a term to use, if one can get my meaning. "Cruasde of the Slave Children" would be a good example to support my poorly-worded reasoning, I think.

And my question still stands.

'Dirty'? Hell no. 'Gritty'? Maybe

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Did I miss it or did none really mentioned The Thin Red Line?

Zimmer's best score.

It's his freakin' masterpiece. There are few scores that move me like TRL; it took me some time to take to it, though. Sure it isn't as elaborate as JW's scores, but it doesn't have to be. It's ascethic, but by no means shallow, simple or generic. Once one stopz analysing every possible musical element of it and lets emotions work, his initialy discovers the power of that music.

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There's an emoticon for that, y'know?

Okay, maybe minimalism is not technically the correct term for the scores I'm talking about. But I'm glad. Crap like that doesn't produce a hypnotic effect like it's supposed to, it just gives you a headache. That's also why everything Philip Glass does sounds exactly the same.

I bought a Philip Glass record once. I listened to it for 2 hours before I realized the needle was stuck.

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:)

I remember I once bought Michael Nyman's collection. I approached it as if it was Williams' cd - I focused on every note. By the end of the first half of the cd I got a headache. Then I learnt I should just let the music play and not focus too much on it.

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