Who are your favorite composers to come out of Zimmer's Media Ventures/Remote Control?

[Edmilson 7,457]

This is the poll for the most controversial studio in all of film score fandom. Media Ventures/Remote Control spawned the career of several composers under the tutelage of Hans Zimmer. They scored everything from blockbusters to indies, TV shows, video games, documentaries, you name it. 

 

However, a lot of film music fans don't seem to care about any of them. Are they being unfair or in fact RC only produced garbage? Let's discuss!

 

And please guys, try to keep this civil. Let's not kill each other here.

[Thor 7,506]

I predict a runaway victory for John Powell. Which is fine, I voted for him too. But plenty of great composers that were once associated with, or are still associated with MV/RC in one way or another. Just to be clear, Mancina and Rabin didn't really come out of the company. They had long, established careers before they were associated with the company, and their association is tentative to begin with.

 

I have good things to say about all of the names in that list.

[Jay 37,364]

Why did Media Ventures change their name to Remote Control again?

[Jurassic Shark 12,076]

I chose Powell and Gregson-Willians because of the best score that ever came out of RCP: Chicken Run.

 

And HGW (and probably a bunch of minions) delivered the best swashbuckler score of the new millennium with Sinbad.

[Thor 7,506]

Just now, Jay said:

Why did Media Ventures change their name to Remote Control again?

 

The lawsuit with co-founder Jay Rifkin no doubt triggered a desire to start "afresh" with a new name.

[Jay 37,364]

I don't know this story

[Jurassic Shark 12,076]

2 minutes ago, Jay said:

Why did Media Ventures change their name to Remote Control again?

 

Part of HanZ' plan to take full control.

[Richard Penna 3,690]

Powell, HGW, and Streitenfeld.

 

Powell because... well... duh. HGW hasn't always been consistent for me, but it feels like he has a more traditional approach than most of the others.

 

And I love Streitenfeld's scores for Robin Hood, Prometheus and The Grey. He's got a very organic sound that doesn't rely on the usual ostinatos.

[Thor 7,506]

3 minutes ago, Jay said:

I don't know this story

 

Basically, Rifkin had some shady business practices which were revealed later in the trial. I can't remember all the specifics off the top of my head, but it's all online.

[Jay 37,364]

I don't even know who that is

[Jurassic Shark 12,076]

Nice try, Jay Rifkin.

[Thor 7,506]

12 minutes ago, Jay said:

I don't even know who that is

 

He was not really a composer, but a backgrounds guy that worked with Zimmer at one point. Engineer, producer, that kind of stuff. And apparently a great businessman (at least that's what Zimmer thought, which is why he was brought onboard), untill evidence of embezzlement and fraud was produced during the trial.

[bruce marshall 1,315]

22 minutes ago, Jay said:

I don't know this story

How can you not know it?!

😎

15 minutes ago, Jurassic Shark said:

Nice try, Jay Rifkin.

https://m.youtube.com/watch?v=Ln9yywA5Cjs

 

[Jurassic Shark 12,076]

Hahahahahahaha!

[bruce marshall 1,315]

I thought " everybody" knew that story!

1 minute ago, Jurassic Shark said:

Hahahahahahaha!

I could keep milking this theme if my audience asks for it.

[Edmilson 7,457]

31 minutes ago, Thor said:

I predict a runaway victory for John Powell

 

I already knew that Powell would win in a landslide when I made the poll, so I'm more interested to see in who will be in second and third place  

[Thor 7,506]

Would perhaps have been more interesting if he wasn't in the poll to begin with? But too late now.

[Bespin 8,483]

Of course, those composers are all on my blacklist!

[bruce marshall 1,315]

3 minutes ago, Edmilson said:

 

I already knew that Powell would win in a landslide when I made the poll, so I'm more interested to see in who will be in second and third place  

Dwajadi is the only other I like.

[bruce marshall 1,315]

I only have the two DRAGON films for POWELL.

RD I have WESTWORLD and several seasons of GOT.

Jablonsky , one TRANSFORMERS .

 

THATS it.

[karelm 2,913]

Not all on your list would even agree with your characterization that they "came out of Media Ventures".  I doubt Trevor Rabin, who might have been asked to fulfill a score rejected by Zimmer, came out of Media Ventures/Remote.  So how are you defining this?  If they worked with someone at Remote they came out of it?  You know they rent studios right?  ...So anyone with cash can "work at Remote Control" when studio space at that commune become available granting you certain privileges like access to an in house recording stage, if you pay more certain library access, etc., right?  Are you asking about composers who rented space at Remote then eventually left for their own studio?  If so, then what about composer/sound designers who were hired for a specific job at remote once, but really aren't at all "out of remote" though they are very prominent in what they do?  I think the premise of this question is very flawed. 

[Marian Schedenig 8,193]

4 hours ago, Jurassic Shark said:

I chose Powell and Gregson-Willians because of the best score that ever came out of RCP: Chicken Run.

 

Yes, but it's the only HGW thing I've heard that I've liked.

 

I didn't know Willis was associated with MV/RC. I've only heard one of his scores, but that's good enough that Powell isn't my only pick after all.

[bruce marshall 1,315]

1 hour ago, karelm said:

Not all on your list would even agree with your characterization that they "came out of Media Ventures".  I doubt Trevor Rabin, who might have been asked to fulfill a score rejected by Zimmer, came out of Media Ventures/Remote.  So how are you defining this?  If they worked with someone at Remote they came out of it?  You know they rent studios right?  ...So anyone with cash can "work at Remote Control" when studio space at that commune become available granting you certain privileges like access to an in house recording stage, if you pay more certain library access, etc., right?  Are you asking about composers who rented space at Remote then eventually left for their own studio?  If so, then what about composer/sound designers who were hired for a specific job at remote once, but really aren't at all "out of remote" though they are very prominent in what they do?  I think the premise of this question is very flawed. 

Any more questions?

 

[HunterTech 994]

1 hour ago, karelm said:

Not all on your list would even agree with your characterization that they "came out of Media Ventures".  I doubt Trevor Rabin, who might have been asked to fulfill a score rejected by Zimmer, came out of Media Ventures/Remote.  So how are you defining this?  If they worked with someone at Remote they came out of it?  You know they rent studios right?  ...So anyone with cash can "work at Remote Control" when studio space at that commune become available granting you certain privileges like access to an in house recording stage, if you pay more certain library access, etc., right?  Are you asking about composers who rented space at Remote then eventually left for their own studio?  If so, then what about composer/sound designers who were hired for a specific job at remote once, but really aren't at all "out of remote" though they are very prominent in what they do?  I think the premise of this question is very flawed. 

The only two composers that I've seen be outright singled out as never having actually been part of MV/RCP is JNH and Daft Punk. There would've been odd projects or jobs that people like Scott Glasgow, Joseph Trapanese or Pinar Toprak would've been part of, but those are usually clarified. Otherwise, every name listed here has been consistently mentioned as having participated on HZ scores and/or worked heavily with its most prolific members. I don't think they would've been on the h-z.com website otherwise.

Might actually have been interesting to ask Hybrid over what the distinction is before being caught up in trying to fix the new site.

[publicist 4,643]

Powell and Willis. There some runner-up's like Mancina but on the whole, it's a regrettable list.

[Jurassic Shark 12,076]

3 hours ago, Marian Schedenig said:

Yes, but it's the only HGW thing I've heard that I've liked.

 

I don't like many of his scores either, but his score to Sinbad is ace.

[Mephariel 451]

Apocalypse:

Hans Zimmer (Interstellar, Gladiator, The Lion King, The Last Samurai, Pirates 1-3, The Dark Knight, etc.)

 

The Four Horsemen:

1. John Powell (How to Train Your Dragon 1 & 2; Solo: A Star Wars Story; Face/Off) 

2. Mark Mancina (Twister; Speed 2: Cruise Control; Tarzan; Moana)

3. Harry Gregson-Williams (Chronicles of Narnia; Sinbad; Seas; Kingdom of Heaven; The Martian)

4. Ramin Djawadi (Game of Thrones; Westworld; Pacific Realm; Elephant)

 

The High Priests:

5. Tom Holkenberg (Mad Max: Fury Road; Mortal Engines; 300: Rise of an Empire)

6. Rupert Gregson-Williams (Hacksaw Ridge; Aquaman; Wonder Woman)

7. Benjamin Wallfisch (Peter Pan; Mully; Shazam!; Blade Runner 2049)

 

The Acolytes:

8. Steve Jablonsky (Transformers 1-5, Teenage Mutant Ninja Turtle)

9. Geoff Zanelli (Pirates of the Caribbean; Maleficent: Mistress of Evil)

10. Lorne Balfe (His Dark Materials; Jungleland, Mission Impossible 7)

11: Henry Jackman (X-Men: First Class; Ralph Breaks the Internet; The Predator)

12: Trevor Rabin (Armageddon; Deep Blue Sea; National Treasure)

 

The Banished:

13. Klaus Badelt (Invicible; The Promise)

 

The Zimling:

14. Jacob Shea (Planet Earth II, Blue Planet II, Seven Worlds, One Planet)

 

The Unworthy:

Everyone else

[Raiders of the SoundtrArk 2,433]

To me it's Powell of course and three others that I like for several scores but not all their carrear: Balfe (MI6, His Dark Materials), Jablonsky (Transformers, Ender's Game) and Djawadi (GoT, Westworld).

The others just make okay scores, not great but not awful... they just are scores.

 

@Mepharielyou mean MI6. Even if he was announced for the 7 he hasn't write it yet

[Jurassic Shark 12,076]

1 minute ago, Raiders of the SoundtrArk said:

MI6

 

[Raiders of the SoundtrArk 2,433]

20 minutes ago, Jurassic Shark said:

I maintain my choice although I do understand some might not enjoy it. It's my case with Tenet.

[Thor 7,506]

6 hours ago, HunterTech said:

The only two composers that I've seen be outright singled out as never having actually been part of MV/RCP is JNH and Daft Punk. There would've been odd projects or jobs that people like Scott Glasgow, Joseph Trapanese or Pinar Toprak would've been part of, but those are usually clarified. Otherwise, every name listed here has been consistently mentioned as having participated on HZ scores and/or worked heavily with its most prolific members. I don't think they would've been on the h-z.com website otherwise.

Might actually have been interesting to ask Hybrid over what the distinction is before being caught up in trying to fix the new site.

 

As previously noted, guys like Mancina and Rabin have worked with MV in some capacity, but they've never really been 'employees' or anything. It's more about renting gear or resources. In fact, I talked a bit with Rabin about this in my interview a couple of years ago. So the term "come out of" is problematic in these cases.

 

You'll find that of all the names listed as "MV/RC associates" on their Wiki page, some are or have been fullblown employees, while others are established composers that were active long before MV was a thing, and have just collaborated with them in some fashion during their careers. It's an important delineation to make.

[bruce marshall 1,315]

Marshall don't delineate#😠

[Edmilson 7,457]

I just selected the composers that appear here as part of Hans' team. 

[Will 2,215]

Wait why isn't JNH on the list? 

[Edmilson 7,457]

15 minutes ago, Will said:

Wait why isn't JNH on the list? 

 

He only did two films with Zimmer and the RC crew. 

[Fabulin 3,513]

I wonder what percent of the US box office do films scored by all those composers on this list account for.

[Raiders of the SoundtrArk 2,433]

$$$$$$$$$$%

[Koray Savas 2,251]

There’s something to like from all these composers, but the ones I feel are most underrated are Geoff Zanelli, Jim Dooley, and Marc Streitenfeld. 

[Richard Penna 3,690]

Zanelli cerainly has one of the more orchestral and listenable approaches. I just find much of his stuff a bit boring. Into the West is the only score of his that I have.

[Edmilson 7,457]

His score for Pirates of the Caribbean 5 was pretty good.

[Marian Schedenig 8,193]

14 hours ago, Jurassic Shark said:

I don't like many of his scores either, but his score to Sinbad is ace.

 

The bits I've heard of it sounded okayish.

[Jurassic Shark 12,076]

6 minutes ago, Marian Schedenig said:

 

The bits I've heard of it sounded okayish.

 

Listen to the first five tracks and see if you want to listen further.

 

 

[Marian Schedenig 8,193]

Some of that sounds nice enough I guess.

[Raiders of the SoundtrArk 2,433]

2 hours ago, Edmilson said:

His score for Pirates of the Caribbean 5 was pretty good.

I don't fancy much that one but it's probably because I usually do marathon of the PoC's scores 

What would be his best work? Kinda of want to listen to something else from him.

[Will 2,215]

1 hour ago, Jurassic Shark said:

 

Listen to the first five tracks and see if you want to listen further.

 

 

 

Yeah that one's absolutely terrific. Not sure if I've liked anything else by him though. 

[Edmilson 7,457]

26 minutes ago, Raiders of the SoundtrArk said:

I don't fancy much that one but it's probably because I usually do marathon of the PoC's scores 

What would be his best work? Kinda of want to listen to something else from him.

 

I haven't heard much from him either. People say his score for Maleficent 2 was pretty decent, but I I didn't hear it. I plan to do so one of these days.

[Richard Penna 3,690]

Maleficent 2 has its moments, but can't really compete with the first one.

 

The problem with Zanelli for me is that while he is generally fully orchestral, and without the typical RCP stuff, it's often just really dull.

[Jurassic Shark 12,076]

5 minutes ago, Will said:

Yeah that one's absolutely terrific. Not sure if I've liked anything else by him though. 

 

It's this and Chicken Run for me.

[Richard Penna 3,690]

Chicken Run and Shrek are what you get when two RCP alumni get together and produce something that is the complete opposite of what RCP usually represents. Escape to Paradise must be one of the greatest cues in an animation film, ever.

[Jurassic Shark 12,076]

Regarding Shrek I find Fiona's theme to be great, but there's not much else I need from the scores. I'd be interested in suites of highlights from each score, though.