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Hans Zimmer's WONDER WOMAN 1984 (2020)


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1 '84 (2:29)

2 No Hero Is Born From Lies (4:39)

3 Apex Predator (5:09)

4 The Monkey Paw (6:50)

5 Barbara Minerva (1:33)

6 Dechalafrea Ero (11:11)

7 In Love (10:48)

8 Citrine (3:05)

9 In Harm's Way (5:16)

10 Life is Good, But It Can Be Better (9:45)

TOTAL TIME - 1:00:45

 

https://music.apple.com/nz/album/wonder-woman-1984-sketches-from-the-soundtrack/1552230196

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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!

This is the best soundtrack of 2020 for me, but I hold back on buying it, the CD-R version (anyway, I never buy a CD-R). As far as I know, due to someone who knows Zimmer and asked him about it, "proper CD" will be out this year. I hope it'll indeed be so.

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I'm just listening to this score for the very first time. It is actually a really pleasant album. 

 

I will patiently wait for the proper CD. Do we know whether the CD-R is only the US edition?

 

 

Karol

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The sketches sound better than the original album lol, the synths are really nice and everything is a bit more playful.

 

14 hours ago, Pawel P. said:

As far as I know, due to someone who knows Zimmer and asked him about it, "proper CD" will be out this year.

What is the difference to the normal cd? Like a CD deluxe edition with additional tracks?

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1 hour ago, MaxTheHouseelf said:

What is the difference to the normal cd? Like a CD deluxe edition with additional tracks?

 

There is no normal (pressed) CD with this score. There is a CD-R (burned CD) that will probably cease to function in 5 or 10 years. But it's possible that they will release a deluxe 2CD (pressed) that combines the soundtrack and the sketches that are now released. That would be the most logical edition. 150 minutes of music.

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1 hour ago, Pawel P. said:

There is no normal (pressed) CD with this score. There is a CD-R (burned CD) that will probably cease to function in 5 or 10 years. But it's possible that they will release a deluxe 2CD (pressed) that combines the soundtrack and the sketches that are now released. That would be the most logical edition. 150 minutes of music.

Thanks for clarifying, such a deluxe edition would be really nice indeed. :D

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  • 1 month later...
On 2/5/2021 at 3:35 AM, Pawel P. said:

 

There is no normal (pressed) CD with this score. There is a CD-R (burned CD) that will probably cease to function in 5 or 10 years. But it's possible that they will release a deluxe 2CD (pressed) that combines the soundtrack and the sketches that are now released. That would be the most logical edition. 150 minutes of music.

 

That would make it a 3 CD release then, since the OST is actually 2 CDs already. Think they would do a 3 CD release for this score? I hope so honestly, it's one of my favorite Zimmer's now... ESPECIALLY since I just now discovered the "sketches". WOW! I definitely want those part of a CD release.

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I find hat too bad that the sketches are not inclueded with the original score nor in CD because it is pretty good. Wasn't much of a fan from the X-Periments from Dark Phoenix but that one sound extremely well.

 

Guess we'll have to wait another decade for a proper expansions containing both the sketches and the score. So sad...

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Does anybody actually like the FILM?

On 12/27/2020 at 1:35 AM, Anthony said:

No, it's awful. Really. After a solid opening 10 minutes, it completely tanks and turns into an incomprehensible mess.

You're being very generous.

It's atrocious.

Just bad filmmaking and recycled ideas from other superhero films.

 

On 12/27/2020 at 4:03 PM, Arpy said:

 

Then the parameters of the wish are undefined - meaning WW could've wished Steve back in his own body later on.

 

Why was Steve brought back in a different body anyway? It makes zero sense.

Why?

I'll tell you why.......

First, you tell me why Pascal wanted to destroy the world.😜

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4 hours ago, bruce marshall said:

Does anybody actually like the FILM?

You're being very generous.

It's atrocious.

Just bad filmmaking and recycled ideas from other superhero films.

 

Why?

I'll tell you why.......

First, you tell me why Pascal wanted to destroy the world.😜

And the worst in all of this is that Jenkins is going to make a Star Wars movie now, as if this franchise has not suffered enough...

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On 4/3/2021 at 10:58 AM, bruce marshall said:

Well, maybe she'll kill off SW franchise I be and for all.

Not necessarily a bad outcome😝

 

 

Maybe because I immigrated to the US in the 90s and Star Wars was never part of my childhood, but I always felt like Star Wars movies are just above average popcorn flicks and not artistic masterpieces. They are basically just Marvel films by another name. Any decent director can do Star Wars.

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2 hours ago, bruce marshall said:

Yeah. Like when Williams plays Leias Theme for the " Death of Ben"

Ruined the scene. 😎

 

Flawed analogy. The SW example came within the same score where all the material was being introduced, whereas we had full years for us to sit with the BvS material before it got used in WW84.

 

There is a lot of intrigue in trying to figure out what Williams was exactly going for with that particular scene in ANH. Zimmer fully deciding to just keep it from the temp track wholesale because it's the "same universe" leaves little to the imagination, and just makes you wonder how the man goes about making these sorts of decisions often.

 

At least with the Pompeii track at the end, the arrangement is changed enough to where it fits in solidly with the rest of the score. Beautiful Lie essentially is just needle dropped, and I feel it's particularly frustrating because the following track (The Beauty In What Is) manages to capture the exact same emotions of that cue in its own way (particularly the alt version on the complete).

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I'll concede that to the uninitiated, it probably doesn't sound particularly out of the ordinary (especially after they would've already heard Adagio in D Minor prior in the film). But to those familiar with Zimmer's canon and/or the DCEU scores, it really sticks out like a sore thumb. Especially given some would've already been fairly unimpressed with how much Hans got too reliant on his old tricks once more (despite how reinvigorated they are here), so this blatant display hasn't helped his case much there.

 

I honestly expected not to think anything of it, as I wasn't much of a fan of BvS's music. And yet, whenever I do get to that part on some listens, it just ends up bringing a bit of whiplash. It's been too ingrained as Batman material for me to really accept it working as an incidental cue in a different score. I feel it'd have been a lot easier to accept, if again The Beauty In What Is wasn't the rewrite of the cue that fit within the score. On my "alternate" playlist of the complete (where I basically removed all the temp track cues), its absence isn't felt in the slightest.

 

Besides, consciously writing a theme in a cue versus fully re-recording a pre-existing track are going to feel fundamentally different anyway, so I'm not sure if it's apt as a comparison.

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On 4/4/2021 at 8:20 PM, HunterTech said:

Having actually listened to Spirit recently for the first time, I'm not sure if I agree. WW84 definitely uses plenty of old HZ tricks, but I don't think it quite hit the 90s sensibilities that I explicitly got with S:SOTC.

 

I think WW84 mostly resembles 2000 Zimmer (not 2010 Zimmer). The Zimmer that did Gladiator, King Arthur, Pirates, and Pearl Harbor. This is actually my favorite period of Zimmer, so WW84 resonates with me. 

 

In order for me to call it a 90s Zimmer score, I need to hear more action scoring sounding like Drop Zone, The Rock, etc. and I don't hear that in this score. 

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You're pretty accurate in your assessments.

He is writing in a more thematic and melodic fashion here.

He came under the spell of Arvo Part and the.minimalist school starting with TRL. Scores like SPIRIT and ARTHUR, GLADIATOR get back to his more Morricone influenced efforts. WW is closer to them than  BB, TDK

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6 hours ago, Mephariel said:

I think WW84 mostly resembles 2000 Zimmer (not 2010 Zimmer). The Zimmer that did Gladiator, King Arthur, Pirates, and Pearl Harbor. This is actually my favorite period of Zimmer, so WW84 resonates with me. 

 

Agreed. I also love this late 90s/early 2000s Zimmer sound, and I was happy that he brought it back for WW84.

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  • 1 month later...

Unfortunately, ASCAP has been rather slow in bringing us the proper cue titles and credits (presumably because they were hoping the score got nominated for the Oscar). So the only real piece of info we have is that Dave Fleming was mentioned by Hybrid to have worked on the opening track.

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  • 3 weeks later...

Just read that. Cool to see Clemmensen finally toss him a bone. I’d say WW1984 is definitely his best between 2010-2020. Interstellar being a close second and DKR third. But the rest of his work from that decade really didn’t do much for me. 

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Agreed. I didn't liked most of his scores from the last decade, specially for blockbusters (BR2049, Dunkirk, Amazing Spider-Man 2, MoS). The only exceptions were Inception, Interstellar and WW84.

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Ah. I forgot about Amazing Spider-Man 2. That was a fun one. Also I didn’t mind Man of Steel. “What are you going to do...” was a terrific alternative/modern Superman theme. He just didnt seem to know what to do with it throughout the body of the score. 

 

Do you think this last decade was particularly...mmm.. less inspired because Zimmer was on tour for most of it?

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I wouldn't put the blame solely on his concerts. I think since 2008 with The Dark Knight he wanted to write a different kind of score, less emotional and orchestral than most of his 2000s output and more experimental and electronic. Just compare The Da Vinci Code with Angels and Demons and Inferno, for example.

 

However, he did brought back his 90s/2000s kind of sound on WW84. That's what made a lot of people who hasn't liked a score from him since then admire it.

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1 hour ago, WampaRat said:

Ah. I forgot about Amazing Spider-Man 2. That was a fun one. Also I didn’t mind Man of Steel. “What are you going to do...” was a terrific alternative/modern Superman theme. He just didnt seem to know what to do with it throughout the body of the score. 

 

Do you think this last decade was particularly...mmm.. less inspired because Zimmer was on tour for most of it?

 

Yep, my problem with Man of Steel is the decision to save the main theme in the end credits. Also, as I said in another forum, it just frustrates me in general that between Man of Steel, Batman v Superman, and Justice League, nobody was able to incorporate the main theme into the scores and yet, the cue "Flight' got 2 specific scenes devoted to it in 2 different films.

5 minutes ago, Edmilson said:

I wouldn't put the blame solely on his concerts. I think since 2008 with The Dark Knight he wanted to write a different kind of score, less emotional and orchestral than most of his 2000s output and more experimental and electronic. Just compare The Da Vinci Code with Angels and Demons and Inferno, for example.

 

However, he did brought back his 90s/2000s kind of sound on WW84. That's what made a lot of people who hasn't liked a score from him since then admire it.

 

I agree. I think the tours absolutely affected him using more assistants than usual on Dunkirk and BR2049, but I think it was mostly a combination of the Nolan/Synder influence and the rise of experimentation in film scoring that resulted in Zimmer's output. 

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I'd also point towards what Nolan and most major studios wanted to get out of their films, since that was the exact brand of HZ that got popular. After all, you still got your odd projects like TASM2 that didn't really resemble much of his other work at the time.

 

As for MoS, I think I'd like it a lot more if it was generally just a different score. Keep a lot of the ideas and some cues, but find a way to make the meat of the piece to be more engaging. Of course, I imagine he was handicapped by what the films asked for (especially in the case of BvS), but I just know he can make a much more uplifting Superman score with what WW84 has shown us.

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3 minutes ago, HunterTech said:

I'd also point towards what Nolan and most major studios wanted to get out of their films, since that was the exact brand of HZ that got popular. After all, you still got your odd projects like TASM2 that didn't really resemble much of his other work at the time.

 

As for MoS, I think I'd like it a lot more if it was generally just a different score. Keep a lot of the ideas and some cues, but find a way to make the meat of the piece to be more engaging. Of course, I imagine he was handicapped by what the films asked for (especially in the case of BvS), but I just know he can make a much more uplifting Superman score with what WW84 has shown us.

 

Between directors, producers, film music fans, and fans, I think it impossible for Zimmer to please everyone. And part of the drawback to being a popular composer is that everyone wants their piece. If Synder made MoS like WW84 and asked for a score like that, I felt like he would have gained a lot more film music fan praises but would have lost a lot more causal fans. Just look on YouTube, Spotify, etc. I don't think casual fans love WW84 anywhere close to how we like it. I think they largely prefer MoS. But ultimately, you are right and it is up to the studio and director to dictate the film direction and what HZ is going to write.

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I think to an extent for purists like CC and I might call myself one, WW84 actually sounds like a real score - with good proper orchestration, good melodies, some refinement in construction - rather than the banging clanging sound design noise like scores that he usually does.

 

It was almost like - hey! he can still write normal music! 

 

The man has it in him. I don't know why he doesn't write in this mode more often. Do we really need the 400th RC power anthem ostinato score.

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Yeah. WW84 definitely reaffirmed why I fell in love with Zimmer’s music. I hope this is a new phase for him. Not that everything will be in a major key for him from now lol.

 

As much as I anticipate it, given Villenueve’s track record with scores, I fear the score for DUNE will not be as melodic...But I’m willing to be surprised.

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On 6/6/2021 at 9:10 PM, WampaRat said:

Yeah. WW84 definitely reaffirmed why I fell in love with Zimmer’s music. I hope this is a new phase for him. Not that everything will be in a major key for him from now lol.

 

As much as I anticipate it, given Villenueve’s track record with scores, I fear the score for DUNE will not be as melodic...But I’m willing to be surprised.

 

I don't think it will be because of the serious tone. But the one glimmer of hope is that Villenueve himself said the studios told him he can't make just art movies anymore. I suspect the movie will be a lot more fun than BR2049. Plus, early screeners said that the music has motifs and leimotifs and a middle eastern influence. So I guess Gladiator in space is my optimistic prediction.

 

I also don't know what to think about No Time to Die. But Top Gun: Maverick has to be fun right?

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@Mepharielone can hope! I’d love for the Zimmer of the 2020s to swing back into more melodic writing. Even if it’s a tense drama, thriller etc. It doesn’t mean melodies can’t be used in those films. In fact if Zimmer himself started to write more melodic material for films like that, I’d WELCOME the numerous copycats that would inevitably follow, potentially ending the era of ambient drone/ostinato chugging for a while. 
 

A world with more melody in it sounds good to me. 😀

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2 hours ago, WampaRat said:

@Mepharielone can hope! I’d love for the Zimmer of the 2020s to swing back into more melodic writing. Even if it’s a tense drama, thriller etc. It doesn’t mean melodies can’t be used in those films. In fact if Zimmer himself started to write more melodic material for films like that, I’d WELCOME the numerous copycats that would inevitably follow, potentially ending the era of ambient drone/ostinato chugging for a while. 
 

A world with more melody in it sounds good to me. 😀

 

Problem is, while Zimmer is influential, but he is only a composer. He is still under the vision of the directors. The pendulum will swing the other way when a new collection of auteur directors accept melodic music as a viable medium for intellectual story telling. You look at the art directors today: Chloe Zhao, Christopher Nolan, Denis Villeneuve, David Fincher, Aaron Sorkin, Paul Thomas Anderson, Damien Chazelle, Alejandro González Iñárritu, etc...how many of them are spearheading melodic music? Not a lot. Chazelle maybe. Guillermo del Toro perhaps. I think melodic music will always exists in action/sci-fi/fantasy films to some degree. But I think it is fading because directors want to be respected and they think abstract music makes them more unique and visionary.

 

If you look at Zimmer's resume in the last 10 years, he wrote plenty of melodic music in animated films like Kung Fu Panda 3, The Boss Baby, and adventure films like The Lone Ranger. But in his live action dramas and contemporary action films, experimentation and abstraction dominated. Would he have done something different if they were made by Spielberg, Howard, and Abrams? I don't know. But I think changes will have to come from the directing chairs. Lastly, it doesn't help that critical acclaim movies embody very different values now. In the past, live action Oscar winners were wholesome, emotional, larger than life pictures. Now, the industry (perhaps the audience as well) values naturalistic, unflinching narratives, with sepia toned cinematography. Naturally the music follows. I just watched Nomadland two days ago and while the film was superbly shot, I may as well been watching a documentary.      

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 That’s a very good explanation on partly why film music for “serious cinema” has taken the direction it has.

 

I always thought certain directors  argument/worry about music “manipulating the audience” was so silly. Everything else (actors performance, cinematography, sound design) is intended to solicit a specific emotional reaction from the viewer. Isn’t that “manipulative”? Why should film music be any different?
 

 

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1 hour ago, Mephariel said:

If you look at Zimmer's resume in the last 10 years, he wrote plenty of melodic music in animated films like Kung Fu Panda 3, The Boss Baby, and adventure films like The Lone Ranger

Yeah, but most of the job on these movies were done by his assistants. Lorne Balfe did most of KFP3, Steve Mazzaro scored Boss Baby and I think Geoff Zanelli did most of Lone Ranger. I don't think Zimmer did much more than a few suites and ideas for these movies.

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16 hours ago, Mephariel said:

 

Problem is, while Zimmer is influential, but he is only a composer. He is still under the vision of the directors. The pendulum will swing the other way when a new collection of auteur directors accept melodic music as a viable medium for intellectual story telling. You look at the art directors today: Chloe Zhao, Christopher Nolan, Denis Villeneuve, David Fincher, Aaron Sorkin, Paul Thomas Anderson, Damien Chazelle, Alejandro González Iñárritu, etc...how many of them are spearheading melodic music? Not a lot. Chazelle maybe. Guillermo del Toro perhaps. I think melodic music will always exists in action/sci-fi/fantasy films to some degree. But I think it is fading because directors want to be respected and they think abstract music makes them more unique and visionary.

 

If you look at Zimmer's resume in the last 10 years, he wrote plenty of melodic music in animated films like Kung Fu Panda 3, The Boss Baby, and adventure films like The Lone Ranger. But in his live action dramas and contemporary action films, experimentation and abstraction dominated. Would he have done something different if they were made by Spielberg, Howard, and Abrams? I don't know. But I think changes will have to come from the directing chairs. Lastly, it doesn't help that critical acclaim movies embody very different values now. In the past, live action Oscar winners were wholesome, emotional, larger than life pictures. Now, the industry (perhaps the audience as well) values naturalistic, unflinching narratives, with sepia toned cinematography. Naturally the music follows. I just watched Nomadland two days ago and while the film was superbly shot, I may as well been watching a documentary.      

 

Chloe Zhao, Christopher Nolan, Denis Villeneuve, David Fincher, Aaron Sorkin, Paul Thomas Anderson, Damien Chazelle, Alejandro González Iñárritu, etc - this is not a list of "art" directors. They were very much mainstream Hollywood.

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On 6/14/2021 at 6:57 AM, TheUlyssesian said:

Chloe Zhao, Christopher Nolan, Denis Villeneuve, David Fincher, Aaron Sorkin, Paul Thomas Anderson, Damien Chazelle, Alejandro González Iñárritu, etc - this is not a list of "art" directors. They were very much mainstream Hollywood.

I still consider them art directors even if they are mainstream, compared to other mainstream directors like Michael Bay, Spielberg, or Ron Howard

 

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1 hour ago, greenturnedblue said:

I still consider them art directors even if they are mainstream, compared to other mainstream directors like Michael Bay, Spielberg, or Ron Howard

 

 

It is still patently absurd. Even Nolan wouldn't call himself an art director.

 

Really you think these people are making art films for 200 mil?

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