Has the score to Gladiator aged well?

[Holko 9,526]

3 minutes ago, mstrox said:

 

I like Zimmer a lot, and I don't know about these particular scores, but I find that very hard to believe!

Yeah just take a look at these:

 

http://hans-zimmer.com/index.php?rub=disco&id=1129

http://hans-zimmer.com/index.php?rub=disco&id=1127

[Edmilson 7,457]

Yeah, not exactly "solo" per se, but he had more involvement in the sequels than on the first movie. After AWE, he left much of the work on the fourth film for his min... collaborators. 

[bruce marshall 1,315]

I meant Badelt

 

 

tFwiw

Composers I have interviewed think very highly of this score.

" Now we are free" is magnificent!

 

Deal with it.

 

 

On 9/23/2018 at 12:07 PM, Jurassic Shark said:

It's quite a catchy score, but too much a riopff of great composers such as Holst and Prokofiev.

I blame Scott falling in love with the temp track for that aspect

[Fabulin 3,513]

On 9/24/2018 at 4:32 PM, Naïve Old Fart said:

Don't forget Sigfried's Funeral March.

Interesting... so Zimmer does appear to know his Wagner. Just a few days ago I had a touching thought that a passage in the track playing after Mufasa's death sounded very much like a homage to a part from Das Rheingold (it was not lifted---just to make it clear) where the lyrics tell "only the one who rejects love can forge the ring of power", which actually befits the fratricide/coup context. #Zimmer appreciation thread?

[KK 3,307]

Gladiator owes much of its underscore to Wagner. He's admitted plenty of times that he was trying to fashion the dramatic beats of the film after the big Wagnerian moments. And it's still great fun.

 

At World's End is obviously a massive team effort. But I think Edmilson is trying to say POTC 2 + 3 were led by Zimmer, while he was barely involved in the fourth one.

 

The Da Vinci Code on the other hand, is about as solo as Zimmer gets. And it's one of his finest.

[bruce marshall 1,315]

Hans wasn't trying to hide that he us3d SIEGFRIED- it's pd and he has every right to quote it; like Ennio did in NOBODY( Walkure)

[Jurassic Shark 12,078]

16 minutes ago, bruce marshall said:

us3d

 

You're such a hipster!

[bruce marshall 1,315]

2 minutes ago, Jurassic Shark said:

 

You're such a hipster!

Nah. You're just not worth my time to correct typos.

[Gruesome Son of a Bitch 6,488]

Never seen or heard it.

 

Would I like it?

[Koray Savas 2,251]

All of the Pirates Of The Caribbean films have numerous composers involved. I think something like 12 people worked on The Curse Of The Black Pearl. Zimmer wrote all the themes. Geoff Zanelli pulled a lot of the weight. 

[Romão 2,274]

9 hours ago, Edmilson said:

 

I only like Chevaliers de Sangreal from Da Vinci Code, the rest is a little boring. Gladiator has better underscore.

 

The Da Vinci is probably my favorite Zimmer score, but Chevaliers de Sangreal is easily my least favorite track from that score

[bruce marshall 1,315]

Somebody asked on the ZIMMER thread to name one great score written in collaboration.

This comes pretty close.

So does LAZT OF THE MOHICANS

[KK 3,307]

30 minutes ago, bruce marshall said:

So does LAZT OF THE MOHICANS

 

What does that have to do with Zimmer?

[Not Mr. Big 4,639]

Meh, give me Pirates 3 any day (the film)

[bruce marshall 1,315]

28 minutes ago, KK said:

 

What does that have to do with Zimmer?

It shows that  multiple composers can create an outstanding film score

[KK 3,307]

Gotcha. Though in Mohicans' case, I think the division of labour is much clearer than some of the more collaborative ways in which Zimmer and team work.

[bruce marshall 1,315]

11 minutes ago, KK said:

Gotcha. Though in Mohicans' case, I think the division of labour is much clearer than some of the more collaborative ways in which Zimmer and team work.

Whatever works!

[artguy360 1,843]

I enjoy this score a lot. It is basically a summary of all or most of Zimmer's musical Zimmerism. Middle Eastern-esque vocals? Check. Crunchy battle music with a kickass heroic theme? Check. Slow, low strings repeating the same figure for representing evil? Check. The synthesized sound is a little more hidden in this score than his other work but it's still there. Check.

[Brundlefly 2,385]

I don't like the use of music in the fight scenes at all. It takes out the effectiveness and the raw character of those scenes. Another lesson in "how more can add up to less", although that might be the director's fault.

[Chen G. 3,949]

I don't recall there being too much music in the actual fighting.

 

Great movie, and the score complements it very well; I like it.

[Jurassic Shark 12,078]

Much like Braveheart.

[Chen G. 3,949]

Exceedingly so.

[A24 4,337]

I remember I didn't like the music when I first saw Gladiator. Not only did I not like the music itself, I didn't see how it added something other than what we already understood from the images. It's music that holds the viewer by the hand by confirming the Pope is Catholic. This movie needed Jerry Goldsmith, someone who was capable of adding a new layer to the whole. 

[Edmilson 7,457]

12 hours ago, Romão said:

 

The Da Vinci is probably my favorite Zimmer score, but Chevaliers de Sangreal is easily my least favorite track from that score

 

I used to love Chevaliers when I was younger, but I haven't listened that cue in ages. Still, my memories of it is that it's a fine track.

[Jurassic Shark 12,078]

It does what HanZ is best at: repetitive, pompous buildups that lead to nothing.

[mstrox 6,651]

Gladiator is one of those few scores that have crossed the line to pop music lovers.  I heard Gladiator in a lot of unlikely places in the year or two after that movie was released.  In fact, most of the scores that have bridged that gap in the last 20 years or so have been Zimmer!

 

I remember when they released the "More Music From" album, the local big box record store was having a midnight madness release party for other huge pop and rock albums coming out that day (my brother went because there was a Dave Matthews Band CD release).  I went along, and they clearly were not prepared for my particular brand of midnight madness, but they went in the back and pulled a copy out for me anyway.

[Jurassic Shark 12,078]

Aww!

[Koray Savas 2,251]

18 hours ago, KK said:

Gotcha. Though in Mohicans' case, I think the division of labour is much clearer than some of the more collaborative ways in which Zimmer and team work.

I’m fairly certain Jones and Edelman didn’t work together at all. A half rejected project, if you will, like Ad Astra. 

[KK 3,307]

3 minutes ago, Koray Savas said:

I’m fairly certain Jones and Edelman didn’t work together at all. A half rejected project, if you will, like Ad Astra. 

 

Yea, that's what I meant. If I'm not wrong, Edelman essentially score the scenes Jones did not have time to get to, or where his original material was rejected. Hardly anything collaborative about it.

[bruce marshall 1,315]

Who cares? Two composers, one excellent score.

Just like GLADIATOR...POTC.....TDK...HIDDEN FIGURES ....TEARS OF THE SUN....

Btw

Try and catch the flic on STARZ or any premium cable channels

They present it full screen , 1:78.

The 235 Super 35 version is terrible. It's like watching the film thru a helmet visor!

 

[Richard Penna 3,690]

9 hours ago, mstrox said:

Gladiator is one of those few scores that have crossed the line to pop music lovers.  I heard Gladiator in a lot of unlikely places in the year or two after that movie was released.  In fact, most of the scores that have bridged that gap in the last 20 years or so have been Zimmer!

 

I remember when they released the "More Music From" album, the local big box record store was having a midnight madness release party for other huge pop and rock albums coming out that day (my brother went because there was a Dave Matthews Band CD release).  I went along, and they clearly were not prepared for my particular brand of midnight madness, but they went in the back and pulled a copy out for me anyway.

 

I don't remember my reaction to the More Music From, as it was rather a long time ago, but I'm sure part of it would've been 'what the hell is all of this non-score shit doing on here?'

 

Dialogue and demos don't go down well with an 18 year old (or something like that) soundtrack fan who's just discovered a love for instrumental scores.

[gkgyver 1,645]

20 hours ago, bruce marshall said:

Somebody asked on the ZIMMER thread to name one great score written in collaboration.

This comes pretty close.

So does LAZT OF THE MOHICANS

 

Wrong. 

I asked to name great classical work written in collaboration, because someone claimed great works were always done in collaborations, before Remote Control. 

I'm still waiting. 

 

Also, Gladiator is clumsy.

 

Da Vinci Code is a perfect film score. Touches the heart of the material, and elevates the film to places I wouldn't have felt without it. 

Still hear it occasionally. 

 

Shame it was written around the time Zimmer really started bullshitting about his genius. 

 

10 hours ago, mstrox said:

Gladiator is one of those few scores that have crossed the line to pop music lovers.  I heard Gladiator in a lot of unlikely places in the year or two after that movie was released.  In fact, most of the scores that have bridged that gap in the last 20 years or so have been Zimmer!

 

That's because Zimmer crossed the line to the other side and made orchestral pop music. It's not because he made such poignant and outstanding orchestral music that he lured the pop music lovers over the line to his side, like Star Wars did, or Titanic, or Lord Of The Rings. 

That's a major difference. 

This major difference led to not few people believing what Zimmer does is classical music, and that's what an orchestra actually sounds like. You know, with 30 basses and 20 horns. 

[Koray Savas 2,251]

4 hours ago, bruce marshall said:

Who cares? Two composers, one excellent score.

Just like GLADIATOR...POTC.....TDK...HIDDEN FIGURES ....TEARS OF THE SUN....

All of those Zimmer scores had more than two composers, all working together. There’s a difference. Edelman and Jones never collaborated. 

[bruce marshall 1,315]

2 minutes ago, Koray Savas said:

All of those Zimmer scores had more than two composers, all working together. There’s a difference. Edelman and Jones never collaborated. 

I know that!

 

Mann has done the same thing on other films with good results.

One composer is not the only way to produce a successful soundtrack.

What about THE EGYPTIAN?

 

[Koray Savas 2,251]

Just now, bruce marshall said:

I know that!

So stop saying it’s all the same! 

[bruce marshall 1,315]

2 minutes ago, Koray Savas said:

So stop saying it’s all the same! 

 

[Brundlefly 2,385]

20 hours ago, AC1 said:

I remember I didn't like the music when I first saw Gladiator. Not only did I not like the music itself, I didn't see how it added something other than what we already understood from the images. It's music that holds the viewer by the hand by confirming the Pope is Catholic. This movie needed Jerry Goldsmith, someone who was capable of adding a new layer to the whole. 

I've been thinking about that too. However, Mr. Goldsmith was busy doing The 13th Warrior.

 

Another bunch of Scott-Goldsmith collaborations would've been a great finale for the composer's career. (Hannibal - Black Hawk Down - Gladiator)

[Unlucky Bastard 7,782]

Goldsmith just doesn't give mah da feelz like Zimmer.

[Quintus 5,399]

I've never seen Da Vinci Code (I recall it was poorly received) and so have never heard a note of its score. I could never get past Hank's hair anyway.

[Unlucky Bastard 7,782]

I didn't see it until recently and thought it was boring and overrated. Angels and Demons was even worse. Oddly, the widely panned Inferno was more entertaining.

[Edmilson 7,457]

These Robert Langdon movies aren't very good. Most of the time they're just plain dull and convoluted. Zimmer's score works just fine, but I'm curious to see what James Horner would've done with the material. 

[Unlucky Bastard 7,782]

13 minutes ago, Edmilson said:

I'm curious to see what James Horner would've done with the material. 

 

Now you'll never know. 

[Jurassic Shark 12,078]

25 minutes ago, Edmilson said:

convoluted

 

That's kind of the point of these stories.

[Quintus 5,399]

The first one's story would have been better placed in an Indiana Jones sequel.

[Thor 7,506]

I like THE DA VINCI CODE. But then it gets worse from there. ANGELS & DEMONS is mediocre and INFERNO is really bad. Same for the scores too. The first is a bonafide masterpiece; one of ZImmer's best in the new millennium.

 

On 7/23/2020 at 3:51 PM, Edmilson said:

Gladiator's score is okay. It's from the best era of Zimmer's career (1998 to 2007). 

 

I do agree that GLADIATOR is in Zimmer's best era, but I place it at the tailend. So I'll have to move your 'era' about a decade earlier - from 1988 to roughly 2000.

[Edmilson 7,457]

My favorite Zimmer scores were released from 1998 to 2007: Prince of Egypt, The Thin Red Line, Gladiator, Pearl Harbor, Spirit, The Last Samurai (my absolute favorite), King Arthur, Da Vinci Code, Pirates 2 and 3. After The Dark Knight in 2008, I had a really hard time connecting with his newer scores. But I do place Interstellar among my top 10 Zimmers.

[Thor 7,506]

That's understandable, given our age difference. Late 80s and 90s is when he really shone, IMO. I like a lot of his post-2000 work too, but not on that level.

[Jurassic Shark 12,078]

Given your advanced age, Thor, are you into music composed retrospectively for silent films?

[Quintus 5,399]

All this talk of masterpieces... so what are the best three cues on Da Vinci Code? I wanna check 'em out.

[Edmilson 7,457]

21 minutes ago, Quintus said:

All this talk of masterpieces... so what are the best three cues on Da Vinci Code? I wanna check 'em out.

 

This is the most famous track from the OST, and one of HZ's biggest hits ever.