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Hans Zimmer's WONDER WOMAN 1984 (2020)


John

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He took a lot of time off for his tour. Junkie XL was supposed to score Justice League but Whedon made sure that didn’t happen.

 

Zimmer also wrote the Wonder Woman theme that Rupert used. 

 

DC obviously wants his sound if they can’t get him directly. 

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2 minutes ago, Richard said:

Don't you EVER say his name!

 

Don't be silly.

 

1 minute ago, Koray Savas said:

He took a lot of time off for his tour. Junkie XL was supposed to score Justice League but Whedon made sure that didn’t happen.

 

 

Elfman's score will feel even more out of place in the Cinematic Universe now!

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It's an insult to Zimmer to say that his score for the first one would've sounded like RGW's anyway.  Outside of a couple of cues that is one VERY boring score.  You can say a lot of things about Zimmer, but he is rarely boring IMO.

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12 hours ago, TGP said:

I would never have gotten that impression from anything you post.  You seem to be a reasonable and level headed individual with organic likes and dislikes and no weird personal vendettas.

Thanks.

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Eh he's boring sometimes but he can cook up a ripper sometimes.

 

MOS and BvS have some cues that really hooked me, but Elfman's JL sounded like it might have been done by any of the anonymous, lower tier DC Animation or DC TV composers.

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12 hours ago, Drew said:

Zimmer is the most powerful influencer in film music. The fact that he can't keep his word is annoying.

 

You're silly.

 

 

 

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I really like Zimmer, but I liked almost nothing in his Man of Steel and BvS scores.  What I did really like was his Wonder Woman material from BvS (although I think Elfman did better by that riff in Justice League), so maybe this will be interesting.  Plus, the 80s setting means that maybe Zimmer can do something fun and weird, if he's given loose reins.

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On 8/23/2018 at 1:27 PM, Stefancos said:

The greatest Director/Composer collaboration in Hollywood history!

Wasn't there some guy- Meilberg or something like that, and another fellow whose name escapes me.

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4 minutes ago, Jerry said:

Wasn't there some guy-Meilberg or something like that, and another fellow whose name escapes me.

 

I think the composer is named Johnny Wills.

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On 8/23/2018 at 3:55 AM, Alexcremers said:

1) Zimmer only does the score because the first Wonder Woman performed exceptionally well?

 

2) Now that Wonder Woman is hot property, the producers have no problem paying Zimmer's usual fee?

 

3) Zimmer said he was done with action scores but the truth is there aren't enough artistic projects that can actually afford his services?

 

 

You decide!

 

According to an interview with editor Martin Walsh, he talked about how Patty used Zimmer's music as a temp track in the score (which Rupert Gregson-Williams obviously followed).

 

Or maybe Zimmer saw Wonder Woman and went, "Damn, I passed on this?" If that was the case, Patty had no problem nabbing him for the sequel.

 

Personally, I would be happier if Zimmer kept his word on never scoring comic book movies again. 

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On 8/23/2018 at 9:08 AM, mstrox said:

Plus, the 80s setting means that maybe Zimmer can do something fun and weird, if he's given loose reins.

 

It'd be fun to see Zimmer return to or at least hint at his 80s film score roots throughout the score. 

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4 hours ago, Matt C said:

Personally, I would be happier if Zimmer kept his word on never scoring comic book movies again. 

 

I repeat, Dunkirk was one of the most original scores I've heard that year. Whether it's good music or not, I find it more interesting than yet again another superhero score.

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On 23. August 2018 at 1:29 PM, Stefancos said:

Zimmer took a bit of a break after BVS I seem to recall.

Wonder Woman sounded just like Zimmer, so the change won't be jarring.

 

 

You can track any of his superhero music in it and it won't be jarring. 

 

Just like with both the Batman and Superman series, Wonder Woman 2 will not only be exactly like its predecessor, it will BE its predecessor, slightly rearranged, expanded by exactly one theme suite, and surrounded by much PR noise that has to compensate for the fact that Zimmer lacks both the chops, balls, and desire to do anything but a copy-paste job.

And you know it.

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  • 1 year later...

Apparently, one track from WW84 has just been officially released:


To be honest, i smiled all the way hearing this track.

Well this is a HZ alright, with those ostinatos, and granted, orchestratic grandeur is not something you should expect from this man. But this is HZ i’ve been longing for the past years. This is “joyously “free”” and old school ( as in the way he plays with midi synth to emulate an orchestra arrangement), with a touch of “celebrating the oscar”,”angels and demons”, and most prominently “run free”.

I also love how he plays with WW theme


This sounds really promising

 

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Nice track! I was perhaps hoping for something a little more analogue, a little more synthwave (given the time period), but I'm pleased with the the extrovert, old-school stylings he's using here.

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  • 3 months later...

New track, before the soundtrack get released next Wednesday.

 

I'm honestly surprised.

It's more orchestratic than i expected it to be, especially the second half. It somehow reminds me of "Battle for Pride Rock" in The Lion King.

 

And as a lot  has pointed, it has a really good energy and brings back "the old " Zimmer.

 

This sounds really promosing. Cant wait for the full soundtrack.

 

Really, what happens with Zimmer? I mean, in a good way of course.

Does he find something that really inspired him lately?

 

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Wish I felt the same. The whole first half of that track is so compressed. I don't feel any oomph or punch. It's just loud. And somehow the brass feels synthetic to me? Am I crazy?

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25 minutes ago, TSMefford said:

Wish I felt the same. The whole first half of that track is so compressed. I don't feel any oomph or punch. It's just loud. And somehow the brass feels synthetic to me? Am I crazy?

 

Zimmer rights Loudness Wars music for radio.

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It's annoying too, because you can tell he's trying to exude power and something heart pounding but I just don't feel a thing. You're right- it's dense. That's a great way to describe it. I'd be curious to see how it sounds in the film.

 

I was also expecting something along those lines. Granted, we've had what...two tracks from the score? Maybe he'll go into that mode in other places? I dunno.

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