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Hans Zimmer started on INTERSTELLAR


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Steef ain't no homophobe or a racist. Rash and thoughtless he may be with his posts, but ultimately harmless and done with no ill will.

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Steef ain't no homophobe or a racist. Rash and thoughtless he may be with his posts, but ultimately harmless and done with no ill will.

Don't defend this obvious enemy of the people! Just look at his avatar!

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That's the fault of his fellow Dutchmen. Strange folk, I hear.

I heard they're using less paint now, to give the appearance of soot over black paint.

At least they're learning!

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Neither rash nor thoughtless, my Kanadian friend!

Perhaps, but it's taboo here to completely defend you Cosman! So take what you get!

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What does Zimmer have to do with our dear lord and saviour, John Towner Williams?

04 - In order to avoid controversial off-topic debates, political and religious references are NOT ALLOWED ON ANY OF THE FORUMS

http://www.jwfan.com/forums/index.php?showtopic=20175#entry719271

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Oh, okay.

...wait a sec, that's not on the bloody list! Authority is not given to you to deny the return of the people's rights, spambot!

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Steef ain't no homophobe or a racist. Rash and thoughtless he may be with his posts, but ultimately harmless and done with no ill will.

Don't defend this obvious enemy of the people! Just look at his avatar!

Its a proud dutch tradition!

... dont let my family see me say this

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Listening to the FYC. Very good. Barring the omitted three final cues and any credits business, this is complete as far as I can tell. Not great quality obviously, and yet the differences in mixing/mastering between this and the official release let you hear new details. If this surfaces in FLAC from an actual disc, that would be ideal... which may well be what the box set provides.

There are also a few alternates. Stay and Message From Home are different than their official counterparts.

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Yesterday I listened to the Interstellar score on spotify. I was really surprised (you could sell this as The Tree Of Life music) but after a while I felt it could do with some frivolous woodwinds. I mean, it's always the same emotion. No wonder people say "It's a religious experience". It's as if the music is constantly saying: "This... is ... important."

Alex

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Yesterday I listened to the Interstellar score on spotify. I was really surprised (you could sell this as The Tree Of Life music) but after a while I felt it could do with some frivolous woodwinds. I mean, it's always the same emotion. No wonder people say "It's a religious experience". It's as if the music is constantly saying: "This... is ... important."

Alex

I see where you're getting at, and yes the score has bit of that "stagnancy" to it.

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The score suffers from a lack of variation in the way Zimmer states his themes throughout, and the lack of variety in the overall tone makes this all the more an issue. The drone chasing cue is the only track withs hint of optimism in it.

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That's just restating what you've already said. What do you think about my statement that if you can communicate what you're trying to communicate artistically in a steady, measured way, you shouldn't try to add things or

"diversify" things just for the sake of doing it?

We've talked about the way Zimmer and Nolan approach themes and why variation is not a primary concern. Feel free to look for some of those conversations. I'm not going to repeat myself for a thousandth time on the subject.

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Variation is important in music, movies, art. That you find it irrelevant is just a testament to your unwillingness to find any faults in this film or score.

We're both extremists. The truth is probably somewhere in the middle.

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Does it need to?

It's necessary if you want to avoid an overdose of 'weightiness' and if you want to put things in context or into perspective. Listening to the score makes me understand the comment "Interstellar crushes under its own weight". If this mood is felt throughout the film, scene after scene, then I know I will start throwing bricks to the screen after a while. Listen to Nolan's role model, 2001: ASO, the mood changes constantly from horror (Ligeti) to lightness (Strauss II) to loneliness (Kahaturian) to wonder (Richard Strauss).

Alex

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Sorry, but thinking that variation is utterly necessary in art is just lazy.

It's also lazy and amusing to think that my inability to find fault in this film or its score is some form of rabid fanboyism or "extremism". Isn't it possible that I just... gasp... enjoy all of it?

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Does it need to?

It's necessary if you want to avoid an overdose of 'weightiness' and if you want to put things in context or into perspective. Listening to the score makes me understand the comment "Interstellar crushes under its own weight". If this mood is felt throughout the film, scene after scene, then I know I will start throwing bricks to the screen after a while. Listen to Nolan's role model, 2001: ASO, the mood changes constantly from horror (Ligeti) to lightness (Strauss II) to loneliness (Kahaturian) to wonder (Richard Strauss).

Alex

Do you not hear horror in Landing In Tesseract, in No Need To Come Back, in A Place Among The Stars, in Coward? Do you not hear lightness in Cornfield Chase, in Quantifiable Connection, in the waltzy end of I'm Going Home? Do you not hear loneliness in Message From Home? Do you not hear wonder in The Wormhole, in Dust, in What Happens Now?, in Our World? Do you not hear many other shades of feeling in other cues? Awesome terror in Mountains, the simple but massively emotional passing of time in Years Of Messages, the muted optimism of the "human" theme in Dreaming Of The Crash. And plenty of others.

Sharky, feel free to answer as well, since you "liked" his comment. And Stefan, since you think it was "well said".

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