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Hans Zimmer loves stealing from David Arnold


leeallen01
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I've noticed one or two over the years, but Zimmer seems to do it more than I thought.

 

There's the major obvious one here

 

 

Then Zimmer just slowed it down a couple of years later - 

 

 

 

 

 

And then I've noticed that the love theme from Pirates 3 at 8:55 - 9:20 -

 

 

 

Is clearly influenced in overall sound, style and even melody coming out of the crescendo of Arnold's love theme at 2:42 - 3:15. Which is of course the melody of Arnold song for the film called 'Surrender.' -

 

 

 

 

 

And Zimmer must have loved Tomorrow Never Dies because he used another of Arnold's love themes from that film here at 1:02 -

 

 

 

In Pearl Harbor... 1:29 - 

 

 

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1 minute ago, Disco Stu said:

The first two don't sound very similar to me

 

The Inception one is blatant, but the love theme he used in Pirates is less so. But clearly is influenced heavily. 

 

I find it interesting that Zimmer does get praised an awful lot for being the leader of a new wave of sound by reinventing himself, yet Arnold established the sound consistently a couple of years before Zimmer, and then Zimmer uses it and is declared the leader behind the movement.

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If anything, "Old Souls" is a Vangelis tribute. Has nothing to do with Arnold. In fact, I can't say I've ever heard any Arnold influences in Zimmer's music.

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2 minutes ago, leeallen01 said:

 

The Inception one is blatant, but the love theme he used in Pirates is less so. But clearly is influenced heavily. 

 

I find it interesting that Zimmer does get praised an awful lot for being the leader of a new wave of sound by reinventing himself, yet Arnold established the sound consistently a couple of years before Zimmer, and then Zimmer uses it and is declared the leader behind the movement.

 

Don Davis and John Powell got more praise for their mixing of techno and orchestral that Arnold ever did, even though he did it before them.

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4 minutes ago, Stefancos said:

 

Don Davis and John Powell got more praise for their mixing of techno and orchestral that Arnold ever did, even though he did it before them.

 

Indeed. Also Arnold used acoustic guitar in action movies and then Zimmer started using it and it became a cliche of the 90's.

 

 

This is the exact style that Don Davis used 2 years later for his Matrix scores. Arnold really doesn't get the credit he deserves for paving the way with style and execution.

 

 

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Arnold is one of the most underrated composers in Hollywood (to the point where he doesn't seem to be working in Hollywood at all anymore).

 

He was brushed off as a Williams-wannabe after Stargate and ID4 but his sound developed incredibly throughout his run as the Bond composer, with Casino Royale probably his best score ever. 

 

I'm eagerly anticipating his return to the big time, he deserves it.

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1 minute ago, Cherry Pie That'll Kill Ya said:

I still don't get the Williams comparisons other than he created some memorable themes. Otherwise he sounded like a James Horner/John Barry hybrid in the 90s.

 

Probably all the heavy militaristic Americana in ID4. That's definitely a 70's-80's Williams staple.

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Stupid clickbait thread title is stupid.  Composers have lifted from each other since the beginning of music.  Only the dumb remain interested in it as a point of discussion.  I should think with the origin of many of JW's most beloved themes so easily uncovered, JWFan would see the insignificance of such things. 

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3 minutes ago, TGP said:

Stupid clickbait thread title is stupid.  Composers have lifted from each other since the beginning of music.  Only the dumb remain interested in it as a point of discussion.  I should think with the origin of many of JW's most beloved themes so easily uncovered, JWFan would see the insignificance of such things. 

 

You know it's true, how nice!

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The first one is the only noteworthy comparison. And that kind of stuff is all somewhat derived from the Bourne scores anyways (which Inception draws a fair bit from).

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1 hour ago, TGP said:

 

Its more likely some bizarre film music fan analog of comparing penis dimension. 

 

Not just limited to film music, though, yeah? It's something that seems very common in the orchestral world generally.

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13 minutes ago, Nick Parker said:

 

Not just limited to film music, though, yeah? It's something that seems very common in the orchestral world generally.

 

Aping musical ideas and turning them into something new?  Of course.

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