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Hans Zimmer's WONDER WOMAN 1984 (2020)


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Well, my favorite track so far is Truth. Very emotional and uplifting.

 

Parts of the score sound like The Lion King (both the 94 and the 2019 versions), others reminded me of DaVinci Code, The Pacific, Angels and Demons, etc.

 

But yeah, this is more like Zimmer trying to write an orchestral, traditional super-hero score of the 2010s. It's like his own version of Silvestri's Avengers than any other super-hero score he wrote.

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Okay, ASCAP has just barely got the full cue credits to WW84, down to them still adding entries every check that I have made so far. I'll post what the list currently is, and update if there is any mo

That sounds very Hans. Who cares what it's for. It's a DC song right? Just throw it in there!

Finally finished my first listen. I was expecting the second half of the album to really tank by the way some people described it.  But I didn’t mind it. 

A really great score. Reminded me of why I used to really enjoy this guys work in the early 2000s. My personal playlist involves all the tracks except for “Already Gone”, and “Radio Waves” and the “Lost and Found” bonus track. That trims it down to a nice 65 min album :)


Man “1984” - I don’t think Zimmer has sounded that jubilant and fun since his score to Thunderbirds!

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2 minutes ago, Erik Woods said:


Fantastic... and you probably think he's the only composer to ever use help, additional composers or ghostwriters, right?

 

:sarcasm:

 

-Erik-

 

The subject of this conversation is not William Ross!

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I just finished listening the whole album and I really liked especially the first 5 tracks which are the most fun Zimmer has been in years. The second half tends to drag a bit because of the excesisvely loud action tracks (I really don't like Radio Waves) but still has some nice tracks in between to keep you interested (my favourite being Truth)

 

My only other complain would be the lack of some interesting material for the new villains which didn't really stood out to me on the first listen, but the new theme / variation on WW's theme is great and feels like a natural development of her theme

 

I hope following Zimmer scores like No Time To Die or Top Gun 2 will sound more like this and less like, let's say Dark Phoenix

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43 minutes ago, MedigoScan said:

I still enjoy Dark Phoenix for what it is (okay: moreso his Xperiments album), but this is indeed a marked improvement from that and most of his recent scores.

I also prefer the Xperiments album over the score itself because it feels like those same ideas were allowed much more development and variation in sound, which the score itself lacked in my opinion

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16 minutes ago, crumbs said:

Didn't Zimmer say he was done with scoring superhero movies like 5 years ago? 

It's all about that sweet, sweet dough. 

 

Had a listen to this yesterday, everything sounds like it was sequenced on a computer. The brass sounded like a synth patch through a keyboard.

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3 hours ago, Arpy said:

It's all about that sweet, sweet dough. 

 

Had a listen to this yesterday, everything sounds like it was sequenced on a computer. The brass sounded like a synth patch through a keyboard.

 

Not only that. A synth patch from 15 years ago. 

 

It's disgustingly close to that ear bleeding sound you get when taking a Hollywood Brass 12 horns marcato sample patch, and just hammer chords with it. 

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Well, his scores for the Nolan Batman trilogy all have their moments, but I wouldn't consider them favorites of mine. Man of Steel is a genuinely bad score and Amazing Spider-Man 2 has some good material, but I hate that Electro theme. BvS is decent, though, and Dark Phoenix left no impression on me.

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4 hours ago, Edmilson said:

Well, his scores for the Nolan Batman trilogy all have their moments, but I wouldn't consider them favorites of mine. Man of Steel is a genuinely bad score and Amazing Spider-Man 2 has some good material, but I hate that Electro theme. BvS is decent, though, and Dark Phoenix left no impression on me.

 

I can agree with most of that. But for some reason I don't really find this quite as good as his Nolan scores. Those scores feel more cohesive than this one does and really commit to the tone, but this one feels a little disjointed at times. I'm still trying to await final judgement until I see the film itself. I may like it better at that point.

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Okay, so I just watched the movie, and there's a seriously "What the fuck?" moment involving the score.

 

No spoilers, but in the climax, during a crutial confrontation between Diana and Max Lord, the score starts playing Beautiful Lie, from the score of Batman v Superman:

 

 

And it's extremely weird because the scene in question doesn't involve Batman, Superman nor any of the characters from the Zack Snyder movie.

 

The only explanation I can think of is that Patty put that cue in the temp track and fell in love with it, then asked Zimmer to re-record it (it doesn't appear to be tracked from the BvS OST).

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35 minutes ago, Edmilson said:

In Williams terms, this is like Spielberg asking him to re-record Here They Come for an action scene of an Indiana Jones movie, just because he liked the cue in the temp.

I think it’s more akin to Spielberg using the original recording of Desert Chase to score The Jungle Chase in KotCS.

 

There’s quotes from Zimmer saying that they did use Beautiful Lie in the temp and he was trying to write a unique cue but they eventually settled on “well it’s the same cinematic universe and it’s a cue by me, so why not just use the same piece.”

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"We cut to it when we were editing... Hans was like 'But I wrote that song for this universe so why aren't we using it? That's what you do with themes.' ...It was so perfect and we cut to the rhythm of it exactly. So then it was just great, you know,  it was great. It was true. And it's like, yeah,  we're the DC Universe and we should reuse great scenes."
 

Quote from director Patty Jenkins

 

https://thedirect.com/article/wonder-woman-1984-batman-v-superman-song-gal-gadot

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On 12/16/2020 at 8:50 AM, Edmilson said:

Well, my favorite track so far is Truth. Very emotional and uplifting.

 

Parts of the score sound like The Lion King (both the 94 and the 2019 versions), others reminded me of DaVinci Code, The Pacific, Angels and Demons, etc.

 

But yeah, this is more like Zimmer trying to write an orchestral, traditional super-hero score of the 2010s. It's like his own version of Silvestri's Avengers than any other super-hero score he wrote.

 

I agree about "Truth." That is a great closer to a great score. "1984" is an absolute blast to listen to and is one of my contender for cue of the year. "Themyscira" and "Games" are also great cues. Reminds me of  early 2000s Zimmer. 

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