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Han Solo movie composer


Who you want to do the music of the Han Solo Spinoff?  

57 members have voted

  1. 1. Who you want to do the music of the Han Solo Spinoff?

    • Michael Giacchino
      13
    • Mark Mothersbaugh
      3
    • James Newton Howard
      12
    • Alexandre Desplat
      4
    • Hans Zimmer/RC
      5
    • Gordy Haab
      6
    • Other
      14


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8 minutes ago, Quintus said:

I don't think Zimmer having a crack at it would be all that big of a deal here nowadays like it once would have been. 

 

The thing that would bother me is how much of it would actually be Zimmer himself 

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Solo should stick to what he's good at. Smuggling. 

Howard Shore!

We need something different, but also something that will fit the whatever tone will be set for the film. There's good reason to think this will be the most comedic SW we've ever seen and Mothersbaugh seems to have the credentials. Mothersbaugh and Lord/Miller have worked just fine together thus far. See no reason to break that up.

 

I could see Howard or Desplat doing a Kenobi film. Would be fun to see things get further from the JW style. A Holkenborg Boba Fett film would be fun.

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26 minutes ago, Koray Savas said:

Why does that bother you?

 

I'm not sure, I guess I'm not a fan of the whole ghostwriter thing. I suppose I'm quite old fashioned when it comes to film music. I appreciate the production itself which makes me enjoy the music more. For example I love listening to JW for many reasons, one of which is because I know he wrote every note with a pencil and paper. Sounds weird I know, but that's just me. Not that I'm completely anti-Zimmer though.

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On 18/12/2016 at 1:44 AM, Muad'Dib said:


¡No habìa visto que eras español! Estamos llenando cada vez màs de hispanohablantes, pronto tomaremos el control de todo...

 

 

Haha. I signed in the forum more than 10 years ago, and I usually read you guys, but I barely post. I think most of the times I only do it when a new Star Wars film and soundtrack is released :p.

 

On 18/12/2016 at 9:31 AM, BloodBoal said:

 

Guys, guys! We need to stop them! They're planning on taking over the forum, and then, the world! It's the 17h century all over again!

Lol! Don´t worry for me. I would probably disappear until next december when Episode VIII will release.

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4 hours ago, Koray Savas said:

Why does that bother you?

 

Seems to me to be an indicator of sorts of how committed he is to the film. It feels wrong for an artist to make those sorts of decisions - if you decide to score a film, then give it your full attention, or let someone else do it. I'm so thankful that Zanelli is doing the next Pirates, because for the first time in about a decade it will have a composer who actually wanted to do it.

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9 hours ago, alextrombone94 said:

 

I'm not sure, I guess I'm not a fan of the whole ghostwriter thing. I suppose I'm quite old fashioned when it comes to film music. I appreciate the production itself which makes me enjoy the music more. For example I love listening to JW for many reasons, one of which is because I know he wrote every note with a pencil and paper. Sounds weird I know, but that's just me. Not that I'm completely anti-Zimmer though.

As Stefan said, they aren't ghost writers if you know about them. I'm sure some of these "old fashioned" composers aren't doing it all alone. They have the real ghost writers. 

6 hours ago, Richard Penna said:

 

Seems to me to be an indicator of sorts of how committed he is to the film. It feels wrong for an artist to make those sorts of decisions - if you decide to score a film, then give it your full attention, or let someone else do it. I'm so thankful that Zanelli is doing the next Pirates, because for the first time in about a decade it will have a composer who actually wanted to do it.

What sort of decisions? That you collaborate with other artists? That has zero indication of how dedicated you are to a project. 

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1 hour ago, Koray Savas said:

What sort of decisions? That you collaborate with other artists? That has zero indication of how dedicated you are to a project. 

 

Collaborating with other artists (such as Pharrell Williams) is not the same as asking 5 other composers from RCP to help you write the score.

 

I'm not asking either of us to 'prove' anything - I'm merely opening up the idea that if significant parts of the score are written by someone else, then maybe Zimmer is not as dedicated as to those projects he's done solo. Unless you've got massive time constraints, you don't give the centrepiece finale of your score to someone else (e.g. The Lone Ranger). If you're going to condescendingly respond 'why?' to that, when we've simply hit upon a basic disagreement over how one approaches scoring a film.

 

Back when The Legend of Zorro came out, suggestions were dismissed that Conrad Pope had written the train sequence, because it was such a major scene which the primary composer should tackle.

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Well I think it's fairly obvious that Zimmer is more committed to certain projects than others. It's why he usually works more solo for Nolan projects will providing a tune or supervising where he can for stuff like The Crown. Either way, good music is good music right?

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Indeed, good music is good music. I've likened the whole orchestrator subject to film music fans learning there is no Santa.  Think it's the same reason why many struggle with Zimmer.  A fixation on the One Great Artiste that doesn't really exist. 

 

And by the way, if memory serves me right, the Pirates theme is no one's but his. 

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You did perfect!
 

btw, you can embed the video right in your post by clicking the 3 dots in the upper right to copy the embed code, then using the "source" button here and paste it in your post

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21 hours ago, Richard Penna said:

 

Collaborating with other artists (such as Pharrell Williams) is not the same as asking 5 other composers from RCP to help you write the score.

 

I'm not asking either of us to 'prove' anything - I'm merely opening up the idea that if significant parts of the score are written by someone else, then maybe Zimmer is not as dedicated as to those projects he's done solo. Unless you've got massive time constraints, you don't give the centrepiece finale of your score to someone else (e.g. The Lone Ranger). If you're going to condescendingly respond 'why?' to that, when we've simply hit upon a basic disagreement over how one approaches scoring a film.

 

Back when The Legend of Zorro came out, suggestions were dismissed that Conrad Pope had written the train sequence, because it was such a major scene which the primary composer should tackle.

My point is that this theory of yours makes no sense if you look at music composition and not film music composition. Just because music is composed for a film with others does not mean one of the artists is less dedicated to that project. That'd be like saying Robert Plant was less interested in writing Led Zeppelin albums with the band than his solo work. Zimmer uses collaborators on nearly every project.

 

P.S. The Lone Ranger is a superb score. 

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I think that Giacchino did a very, very fine job on Rogue One, and I most certainly don't think he's done anything there that should disqualify him from Han Solo consideration. 

 

That said, Fantastic Beasts did show me the greatness of JNH, and some of the other composers are ones I simply haven't investigated enough to understand how they might approach this film. 

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5 hours ago, Stefancos said:

Because Zimmer comes from a pop music background. And he basically still works like he's in a band.

 

You mean no sole credit for anything?

 

 

9 hours ago, leeallen01 said:

Here's my pointless, yet fun video about what it could be like if JNH scored a Star Wars film. I used Force Awakens footage.

 

https://drive.google.com/file/d/0ByOcdhlx0VdyYXFkSllfT1BVYkE/view?usp=sharing 

 

 

 

How do you get the sound effects to still be there if you are replacing the audio track?

 

 

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On 12/19/2016 at 3:55 PM, Richard Penna said:

you don't give the centrepiece finale of your score to someone else (e.g. The Lone Ranger).

 

You do if one of your core principles of collaborating is that you want to give people a shot to step into the spotlight on their own to boost their career.

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9 hours ago, TheUlyssesian said:

 

How do you get the sound effects to still be there if you are replacing the audio track?

 

 

 

I just make the music loud that I put in. I don't remove anything. I wouldn't know how. I just stick the new music in the video as best I can, and turn down the original videos sound until you can't hear the music on there. Sound effects are mixed higher than music most of the time.

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