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@William said:
I have a large Golden Retriever named Waldo. Every once in a while he grabs his ball, runs to the fence and snarls while shoving his ball up against the boards, causing the three hounds on the other side to start baying. I just realized -
I am Waldo.
Yes, me too it seems. I don't deny for one moment how great the traditional films scores of the past were, but I'm hoping that my age, preferences and background don't close my eyes to the future possibilities using today's tools. Out of interest, how does Dave Grusin's score to "The Firm" rate on your radar?
Not all films are great but some have unusually great scores. For example, The Challenge and First Blood. The second of those two films is arguably puerile in the extreme, but the score is great. Jerry Goldsmith was so talented he could lift this type of crap to a false level.
The second recent Batman film made me want to puke and I forgot it 10 minutes after I watched it
@PaulR said:
I watched Hobo with a Shotgun the other evening. Fantastic!
I'm a bit confussed here Pual. You watched a flick called "Hobo" with a shotgun in your hand? They let you in the theater with a shotgun?
Or you watched a flick called "Hobo with a Shotgun"[:^)]
Hi,
I don't think there is an answer to the question the OP posted here.
Funny... I don't even think Mr. Zimmer knows what his best score would be.
We all have different perceptions, tastes, evaluations, standards, ...etc. when it comes to music and film scores. So, imho. no one can seriously answer this question. I'm a big fan of Mr. Zimmer's scores, they all show his wonderful talent as a very creative, cutting-edge film composer who likes to ventures into new areas of composing for media, and does it with his unique sonic signature, and with a lot of style.
Cheers,
Muziksculp
Mr. Zimmer's scores, they all show his wonderful talent as a very creative, cutting-edge film composer who likes to ventures into new areas of composing for media, and does it with his unique sonic signature, and with a lot of style.
But sadly you're mistaken.
http://www.bbc.co.uk/iplayer/episode/b0395mzs/BBC_Proms_2013_Season_Proms_on_Four_John_Wilsons_Hollywood_Rhapsody/
@PaulR said:
It's called 'Hobo with a Shotgun'. It's basically Batman on a very low budget with an excruciating score. In fact, every about it is excruciating. Fantastic stuff! Are you saying you've never seen or heard of it?
I'm sorry to say, no I haven't heard of it but, "Batman on a very low budget with an excruciating score" has me intrigued. I'll have to check out that shinning gem of western civilized culture.
How low of a budget? Do you mean straight to DVD type stuff or, the really low budget, straight to Youtube kind of cinema.
Budget for Hobo with a Shotgun? About $30. Maybe 35 at a push. Most of that probably went to Rutger Hauer though. [:'(] Great film!
There's a couple films that Mark Kermode has been on about recently I would like to catch. One is Danish film set on a hijacked ship - one is called Bernie - there's new American one out about dysfunctional families (which is basically what every American film is about if you think about it) I want to see eventually (I don't go to the cinema).
The Hollywood Rhapsody night at Friday night Proms was good. 90 minutes of the John Wilson orchestra. They can really play. They did a good programme. One I really liked was the Aria by Bernard Herrmann from Citizen Kane. The singer debuted and the whole thing worked very well. The second movement (as it were) from The Adventures of Robin Hood by Erich Korngold was sublime. Psycho was good but missed a couple of sections. The 'mutes on' or sordino quality was great. They did Ben Hur. That was great. They finished up with Scott Bradley Tom and Jerry pieces - so fast it was a blur. Encore was by Franz Waxman (forget the name) but it was great too. The whole evening was first class. If you can somehow get that you would be well rewarded musically.
Sadly, no Hans though. [:'(] [:'(] [:'(]
My biggest Gripe with Hans, is that his name is up in lights, yet it's mostly done by 16 other composers. Jerry Goldsmith, John Williams, John Barry .. Did it all themselves. With perhaps an orchrestrator to flesh out parts but the composition was done by them. Hans can't claim this.
Although I did get a shock when I saw that he did the score for the 2009 Sherlock Holmes film. A score which I thought (at the time without knowing Hans did it) was very good and original. So perhaps Hans (Generic) Zimmer ain't so talentless after all. Maybe he's a good composer who happens to work on boring movies with directors that insist he writes boring music. At least he did a good job on the Sherlock movie.
Funny enough, he wrote the orchestral parts of Disney's "The Lion King". I would say that probably stands as his best score.
@PaulR said:
Budget for Hobo with a Shotgun? About $30. Maybe 35 at a push. Most of that probably went to Rutger Hauer though. [:'(] Great film!
And I bet Rutger Hauer earned every penny. I guess he's most remembered for Blade Runner but my favorite Rutger Hauer film was Nighthawk where he played the psycotic terrorist and Sylvester Stallone played the cross dressing NYPD detective with a speech impediment. Wait a minute, Sylvester Stollone has a speech impediment in every film he's in. [:S]
@hetoreyn said:
Although I did get a shock when I saw that he did the score for the 2009 Sherlock Holmes film. A score which I thought (at the time without knowing Hans did it) was very good and original.
Yes, I enjoyed that score too and was quite surprised our buddy Hans composed it. Or maybe it was composed by one or two, three, four... of his underlings. We may never know.
As I said before, I think he takes on way too much but it seems to me that the culture in Hollywood is such that a big budget blockbuster just isn't a big budget blockbuster at all unless Hans Zimmer composed the score. He's almost like the default composer that everybody goes to now and because he has his "team" working with him the next time his name is up in lights it should read: "Hans Zimmer Inc." This might be a disturbing trend in Hollywood today but since everything else is done by committee (writing, production, direction) why shouldn't the scores be composed by committee too.
@hetoreyn said:
Although I did get a shock when I saw that he did the score for the 2009 Sherlock Holmes film. A score which I thought (at the time without knowing Hans did it) was very good and original. So perhaps Hans (Generic) Zimmer ain't so talentless after all. Maybe he's a good composer who happens to work on boring movies with directors that insist he writes boring music. At least he did a good job on the Sherlock movie.
Or... maybe he's like a broken clock who gets it right at least twice a day.
Hans is a 1-trick pony, and it is a lamentable trick at that. You can bet that when a score of his seems to transcend the customary lobotomotive spiccati over Symphobic crass brass chords, it is because he is rewriting on a very specific temp-track, or that he has happened to hire an actual musician as an assistant for the specific movie, instead of the usual DJ programmers/orchestrators. The five huge, disparate, and composers' dream-films (in that they offered the composer so much space and colour to fill in) that immediately spring to mind where he could have shown his great range (if he only had any) - Gladiator, TRON 2, Inception, Pearl Harbour, Batman - he blundered appallingly.
The sequels to the original Star Wars are to be filmed soon. In case John Williams won't be around to score them, can you imagine what they are going to sound like with those great, "cutting edge" composers like Hans and his imitators (Giacchino, Trevor, and the like...)? Instead of those majestic, sweeping fanfares that score the opening, escalator-like, written out narrative that unfolds into space, you'll get: chugga-chugga-chugga-chugga-chugga-chugga-chugga-chugga|1st brass chord|arpeggiator-arpeggiator-arpeggiator-arpeggiator|2nd brass chord|someone-else's-programming-a.k.a-InactionStrings-MacSessionsStrings-OrkestralLicentials-etc............................ Marvellous......... It's not that hard to imagine. Just compare Goldsmith's Star Trek fanfare to this new Main Theme from the latest installment, for the shape of things to come...
Be afraid. Be very afraid!
(The Fly wasn't it?)
