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Terminator Genisys

MSM

By MSM
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crocodile
crocodile

I wish someone once wrote an original script for a blocbuster, which is not a reboot, sequel, prequel or a tribute, or even tied to any known piece of merchendising. That I would watch gladly. Karol

filmmusic
filmmusic

Totally agree. They should leave it at T2.

Quintus
Quintus

Most pleasing news. Daenerys Stormborn and Arnie together, at last. Hottest Sarah Conner ever to boot!

Jay

Jay 37,478

Posted
Posted

Quite frankly, I am not expecting there to be much of a noticeable difference between this score credited as "Music By Lorne Balfe, Executive Music Producer Hans Zimmer" and one thats credited as "Music by Hans Zimmer and Lorne Balfe"

I wonder which of the two is getting more money from Paramount for scoring this :)

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Koray Savas

Koray Savas 2,251

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Posted

Ugh.

Lorne Balfe composing, and Zimmer taking most of the credit. Fantastic :rolleyes:

I like some of Beck's stuff. Balfe, not so much.

Zimmer has a producing credit. How is that stealing?

I don't really think Balfe is all that good on his own. He's an excellent arranger. Has a magic touch with other peoples material. But of the Zimmer apprentices he's one of the least distinctive.

What have you heard? He's been working at Desplat paces these past few years, and a lot of them are unknown films.
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Mr. Who

Mr. Who 924

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Say what you want about Zimmer but unlike people like Brian Tyler and John Ottman, he does actually give credit to his co-workers.

I personally don't think he'll be very involved in the scoring process of Terminator as he is just the music producer, like he was on Doverent (which was scored by Tom Holkenbog) where he didn't contribute much.

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Giftheck

Giftheck 921

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Say what you want about Zimmer but unlike people like Brian Tyler and John Ottman, he does actually give credit to his co-workers.

I personally don't think he'll be very involved in the scoring process of Terminator as he is just the music producer, like he was on Doverent (which was scored by Tom Holkenbog) where he didn't contribute much.

The Lion King. That was just as much Mancina and Glennie-Smith as it was Zimmer yet he got sole score credit.

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Unlucky Bastard

Unlucky Bastard 7,782

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Credit to co-composers isn't the issue.

Zimmer needs co-composers on every score he works on, which has created a more industrialised sound across almost all of modern Hollywood cinema. This is a source of irritation to those who consider the composition of film music to be the singular autueristic work by one artist.

In the writing of a novel, if some chapters were written by different authors because the leading author had some radical new philosophy that collaboration is a superior methodology to creating art, it would be a disjointed string of chapters with tenuous relation to one another. It might get the book out faster, but authorship of narrative becomes lost. And in the Zimmer factory, it's resulted in a broader repertoire of sameness where all the repetitive drones bleed from one score to the next. Consequently, scoring by committee stymies creativity.

It might be good if your aim is to process everything like fast food, but there's nothing particularly noteworthy or distinctive about each work.

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Mr. Who

Mr. Who 924

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You have good points but if you listen to something like Interstellar (which he scored on his own) that isn't true.

I hope Zimmer will start working more alone as it would probably result in more interesting sounding scores...

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Mr. Who

Mr. Who 924

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Of course you're right, but many composers use ghost writers. Why all the hate towards Zimmer and not the other people who do the same thing...

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Dixon Hill

Dixon Hill 4,234

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Credit to co-composers isn't the issue.

Zimmer needs co-composers on every score he works on, which has created a more industrialised sound across almost all of modern Hollywood cinema. This is a source of irritation to those who consider the composition of film music to be the singular autueristic work by one artist.

In the writing of a novel, if some chapters were written by different authors because the leading author had some radical new philosophy that collaboration is a superior methodology to creating art, it would be a disjointed string of chapters with tenuous relation to one another. It might get the book out faster, but authorship of narrative becomes lost. And in the Zimmer factory, it's resulted in a broader repertoire of sameness where all the repetitive drones bleed from one score to the next. Consequently, scoring by committee stymies creativity.

It might be good if your aim is to process everything like fast food, but there's nothing particularly noteworthy or distinctive about each work.

Do you listen to music written by bands? Do you find that, say, Pink Floyd suffers from its lack of auteurism? How do you account for the many people, both musically trained and untrained, who find that his music is actually noteworthy and distinctive from score to score? Is the real blame for the increasingly generic nature of film music to be placed on Zimmer for merely practicing his own style, or on studio executives and filmmakers for demanding it of their composers?

Anyone who approaches his scores with an honest ear will find that whether or not he's had people writing with him, his vision is the one being represented, he has the final word on the sound of the music. There's nothing diluted. There's a "sameness" because - duh! - it's the same guy behind each one, just like, oh, John Williams' "sameness." And it's not as if he brainwashes the people around him to write his music when they go off on their own. That's the fault of the individual if it happens. Plenty have come out of Zimmer apprenticeship with worthy things of their own to say.

As Mr. Who pointed out, there are other big names who have a much more insidious and indeed destructive role when it comes to ghost-writers, creative dilution, and the general de-personalization of film music as an art form. Those who encourage the breeding of nameless and faceless composers to fill in their scores for them are truly despicable, and *that* is the problem that you "traditional" film music fans should be so vocal about instead of this one guy whose music you don't like.

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Luke Skywalker

Luke Skywalker 1,806

Posted
Posted

Just like Americans and Canadians are the same thing?

Its more like calling Texans and New yorkers the same thing.

Your example is too extreme.

Texas and New York are different states in the same country, though. Scotland and England are different countries bound by constituion to a "United Kingdom" (loose use as these days there's nothing 'united' about it and they're working on severing all ties)

Texas and New York are States (in some countries the term state and country are equal by the way) in the same country bound by a constitution. The UK is more or less the same, but since it is a country from the old world (older), instead of states they were kingdoms...

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Jay

Jay 37,478

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New spot with a ton of new footage

My thoughts:

1. Man, JK Simmons is awesome

2. Man, they are regurgitating all the old lines from the old movies, eh?

3. That 80's era Arnold looks very poorly integrated into the sheen glossy look of the rest of the film

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Jay

Jay 37,478

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Frankly it looks worse and worse to me with each new trailer, commercial, news, and piece of information.

The Matt Smith thing is utterly stupid.


I am kinda curious to see Emilia Clarke as someone other than Danaerys

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Jay

Jay 37,478

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I'm expecting to like that more than the others too

I'm hoping Inside Out will be the surprise great film of the summer, but the full trailer has me worried

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Giftheck

Giftheck 921

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SPOILER!

Click here to find out who Matt Smith plays in the movie

DON'T SAY I DIDN'T WARN YOU ABOUT THE SPOILER!!!

Well, that sounds really, really dumb to me.

The source is Latino Review, the guys who claimed that more Matrix was coming.

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Giftheck

Giftheck 921

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Looking back on it, I'm actually kind of curious to see how the future war plays out, at least. It looks like they've taken a few liberties with the designs (the HK-Aerials are clearly different - an they can morph into the previously-unseen-in-film Centurions) but so far they've not shown us much in the way of substance - and I think that's a good thing.

I know a lot of people are pissed that a 'proper ending' to the first two films won't happen, but if you ask me, a Future War film wouldn't hold up because we all know how it will end. This looks like there could be a few twists and could still be a bit of fun. Despite all the alleged leaks.

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Giftheck

Giftheck 921

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The first two films did have a proper ending.

The end of T2

No matter what he says now, Cameron did want to do a third film, and he's on film as having said that he expected there to be one.

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Giftheck

Giftheck 921

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Doesn't matter

Maybe not to you, but it shows that he didn't consider Terminator 2 to be the end of the series at the time.

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