@Gianna said:

Errikos, you're upset aren't you. You have your tastes, and I don't share them.

If it was just taste, fine. BUT YOU ARE THE ONE WHO SAID JOHN WILLIAMS IS A FRAUD.  Not that you don't personally like his music but the sweeping statement he is a "fraud."  That is total bullshit.  You are engaging in the lamentably common practice of elevating your own opinion into a universal aesthetic principle.  Trust me on this - you have a right to your opinion - warped, ignorant and ludicrous as it is -  but it is definitely not universal, nor a principle of any kind.  You need to understand that.

For someone to praise John Williams as an orchestrator and writer of "catchy tunes" but a total fraud is the height of total ignorance as well as arrogance.   Williams first of all does not do his  own orchestrations.  Whoah!  That's a shock, huh?  You thought he wrote it all out himself, eh?   So you're wrong to begin with there.  Secondly, his music is the MOST SYMPHONIC OF ALL FILM MUSIC since Korngold in the 30s.  Why am I mentioning Korngold to you?  I am certain you haven't the slightest idea of who that is.  (Quick! Google him!)  But anyway, even Williams' scoring is precisely in the style of the heyday of symphonically scored and developed films of the 40s studio era.  This type of scoring DOES NOT USE CATCHY TUNES but instead relies upon complex development similar to symphonic form or Wagnerian leitmotival operatic structure.  Mancini is the prototype of the "catchy tune" composer, not John Williams.   Do you know who Mancini is?  Or did I just waste some time mentioning him also?

Also, you missed the whole point of this thread - not that Zimmer music is ineffective as film music - I STATED THAT SIMPLISTIC MUSIC CAN BE EFFECTIVE EVEN THOUGH IT SUCKS AS MUSIC.  I was disturbed by the lowliness of this music as compared to the great film composers.  Their music is effective for the films it scores, but it is also interesting musically.  My whole point was that Zimmer's success and its obvious and inevitable copycat deluge have taken things far down at the same time he has been elevated to the position of a great musician like John Williams  - and that is exactly what he truly is despite the rat-like gnawings of vermin who try to dismiss him as a "fraud." 

BTW - Appalachian Spring by Copland is based upon a traditional Shaker melody which Copland DID NOT COMPOSE.  That is the melody  you heard and instantly concluded John Williams stole. 

One other thing  -  I detest people who say "film music shouldn't be noticed."  You're bringing up a tone-deaf moron who didn't notice music in a film doesn't mean a damned thing.  So what?  A slug crawling on the floor of the theater didn't notice it either. As Max Steiner put it - if nobody notices it why bother to write it?  

 sorry Mike - I just missed your post in my haste to point out that about the Shaker melody.  you are of course absolutely right.

These facts:

The original name of the piece was Simple Gifts.

Copland used the piece in a work of his own with another name while JW kept the original name, but you complained about JW "changing" the name when AC was the one who did just that.

I'm not sure where you get the idea that once someone arranges a public domain melody, anyone else who arranges that same melody is "copying".  That has been going on for hundreds of years.

It's completely false that he added nothing new to what AC did - the first minute plus of the piece doesn't use the folk tune or anything from AC, and the arrangement of the tune is very different than the AC version.  Did you even actually listen and compare both pieces?

And the reason it says "composed and arranged" is because part of the piece is completely original, what he composed, and part of it is an arrangement of an existing theme, what he arranged.  First you go after JW for supposedly trying to hide that it's based on another theme, then when it's pointed out that JW acknowledged that, that's a bad thing too?  And does Appalachian Spring mention that part is based on a folk tune?  If not, then why the double standard?  Along the same lines, after complaining that you think JW is trying to fool people you turn around and point out that he publicly said that he was intentionally using the same theme as AC.

And for the record, I'm not defending JW's piece, just pointing out the hypocrisy and inaccuracy.

I suggest you calm down about this, it's just a discussion about composers and music so I'm not sure why you've got yourself so angry and worked up about it.

@William said:

If it was just taste, fine. BUT YOU ARE THE ONE WHO SAID JOHN WILLIAMS IS A FRAUD.  Not that you don't personally like his music but the sweeping statement he is a "fraud."  That is total bullshit.  You are engaging in the lamentably common practice of elevating your own opinion into a universal aesthetic principle.  Trust me on this - you have a right to your opinion - warped, ignorant and ludicrous as it is -  but it is definitely not universal, nor a principle of any kind.  You need to understand that.

For someone to praise John Williams as an orchestrator and writer of "catchy tunes" but a total fraud is the height of total ignorance as well as arrogance.   Williams first of all does not do his  own orchestrations.  Whoah!  That's a shock, huh?  You thought he wrote it all out himself, eh?   So you're wrong to begin with there.  Secondly, his music is the MOST SYMPHONIC OF ALL FILM MUSIC since Korngold in the 30s.  Why am I mentioning Korngold to you?  I am certain you haven't the slightest idea of who that is.  (Quick! Google him!)  But anyway, even Williams' scoring is precisely in the style of the heyday of symphonically scored and developed films of the 40s studio era.  This type of scoring DOES NOT USE CATCHY TUNES but instead relies upon complex development similar to symphonic form or Wagnerian leitmotival operatic structure.  Mancini is the prototype of the "catchy tune" composer, not John Williams.   Do you know who Mancini is?  Or did I just waste some time mentioning him also?

Also, you missed the whole point of this thread - not that Zimmer music is ineffective as film music - I STATED THAT SIMPLISTIC MUSIC CAN BE EFFECTIVE EVEN THOUGH IT SUCKS AS MUSIC.  I was disturbed by the lowliness of this music as compared to the great film composers.  Their music is effective for the films it scores, but it is also interesting musically.  My whole point was that Zimmer's success and its obvious and inevitable copycat deluge have taken things far down at the same time he has been elevated to the position of a great musician like John Williams  - and that is exactly what he truly is despite the rat-like gnawings of vermin who try to dismiss him as a "fraud." 

BTW - Appalachian Spring by Copland is based upon a traditional Shaker melody which Copland DID NOT COMPOSE.  That is the melody  you heard and instantly concluded John Williams stole. 

One other thing  -  I detest people who say "film music shouldn't be noticed."  You're bringing up a tone-deaf moron who didn't notice music in a film doesn't mean a damned thing.  So what?  A slug crawling on the floor of the theater didn't notice it either. As Max Steiner put it - if nobody notices it why bother to write it? 

Well said William......

To me, there is always a risk in buying a NEW movie soundtrack recordings just to listen to for their musicality .  Unlike most written in the previous era, today the cues (in many cases) are less musical and more sound design intended to support the scene in the film that they were written to support.  I guess a whole new discussion could be made on whether or not, sound-design noises are considered music.  I would assume that opinion would be based on the individual person's likes and dislikes.  Every once in a while there will be a cue that lends itself musically in my opinion.  Even Zimmer accomplishes that result.  And you know what they say about opinions......

To slam any composer, I feel places the individual at a lower level than the composer them self.   I not saying you slammed any composer William, so that comment is not directed at you -- just a general statement considering some of the post in this thread.......

@Gianna said:

Errikos, you're upset aren't you. You have your tastes, and I don't share them. I didn't buy into the same things you did. I I don't care about Beethoven, or Brahms, or that whole scene. Wagner had some cute moments... invented some horns, that's important.

I'm the barbarian at the gates, man, swing away. etc. etc.

Oh Gianna thank you!! Thank you for putting a smile on my face on a very difficult day. You are just SO funny! I am not upset at all (except at the industry). In fact, with your ridiculous post you set the all-important missing perspective I was asking for. I am curious, at the end of all your posts you have as a motto "beautiful music, ALL DAY LONG". For someone that posts on an orchestral forum and doesn't "care about Beethoven, or Brahms, or that whole scene. Wagner had some cute moments... invented some horns", I ask you to post here the orchestral composers you feel are worthy of your ear.

As far as "is it job or is it art" question, let me remind you that with Bach, Mozart, Beethoven, Brahms, Wagner, etc. - you know, all these insignificants - it was both a job and art! History has made its judgement about that, it is not a matter of personal taste. However, I have an open mind and will gladly entertain your musical suggestions for their worthiness and their place on a higher, purer plane. 

@Chuck Green said:

To slam any composer, I feel places the individual at a lower level than the composer them self.   I not saying you slammed any composer William, so that comment is not directed at you -- just a general statement considering some of the post in this thread.......

Yeah, I am not for a second placing myself above Zimmer - after all he makes the big bucks.    As I stated originally he may be a great composer for all I know, better than Mozart or Beethoven - who knows?  I am just talking about the scores for these huge blockbuster films for which he is getting paid enormous sums and worldwide fame. I am strictly criticizing those, not his existence or general musical ability.  And since they are fabulously successful it is in my book O.K. to offer some criticism, since they and he are doing just fine in the world-at-large.   

However - when  this guy Gianna   comes on and calls john Williams a "fraud" that is different, since he is truly slamming the person.  Which is doubly ridiculous because John Williams is a genius of a composer as well as a successful musician/conductor.  I also don't like the tone of arrogant dismissal of the "19th century orchestras" as if that is something bad.  The 19th century orchestra still exists and is still a powerful sound that composers struggle to learn how to write for - if they are lucky. 

My only additional response to the comments made by Gianna about the validity and credibility of John Williams can be summed up by a priceless quote by Hitgirl from the film Kick Ass:

"what a douche"

See you guys.  I'm probably banned for this but it was worth it. [:P]

On a positive note.... I can't seem to stop listening to "An Epic Tale" by Guy Bacos.  I know it's off subject but I feel he really did a nice job on this one......

Actually to be frank - I can sort of understand Gianna's point about John Williams. I don't necessarily subscribe whole heartedly to it - but I can understand it when it comes to music WITHIN a film. But he's a great writer and brought back melody and orchestra to films in a way that Korngold was a master of. Is he as effective as Herrmann? Probably - but the type of film he scores is usually a very different genre.

Secondly - I completely agree with Errikos' point about Star Wars.  I made the point on some other thread ages ago about the ridiculous dialogue and I agree. The bloody thing would be unwatchable (at least without heavy use of narcotics) if it wasn't for the score. It's as if the score was written first and the film added later.

What I cannot personally agree with is that this thread is about dissing Hans Zimmer (happy birthday btw Hans). Hans is extremely successful at what he does. He is basically a rocker turned filmscore writer. Anyone who tries to copy him is wasting their time in the sense that in the long run it's not going to help their career. He's the only one who can do that style properly. 

Do I like that style? Sometimes. Does it work for the type of movies he does? Probably most of the time (re: Gianna's point about civilian audiences not caring one way or the other). Do I like the type of films Hans scores? Generally no - but that's not Hans fault.

This is a good conversation and I can see no reason whatsoever for anyone getting banned. What on earth for?

My big worry about scoring these days isn't so much the scoring - it's the films. A lot of these directors today would DIE for a Bernard Herrmann score done by the man himself and not a dreadful facsimile.

@PaulR said:

Secondly - I completely agree with Errikos' point about Star Wars.  I made the point on some other thread ages ago about the ridiculous dialogue and I agree. The bloody thing would be unwatchable (at least without heavy use of narcotics) if it wasn't for the score. It's as if the score was written first and the film added later.

Just an observation.....  When Star Wars first came out, I had just joined the military.  It seemed to me then (being around many young individuals straight out of high school) that the score introduced classical music to a lot of young individuals who may otherwise not have been exposed to........

@Gianna said:

this is the same as arguing religion or politics. so much fun!

So, are you still having fun Gianna?

C'mon man.  Even my 3 year old knew that JW doesn't do his own orchestrations.  Speaking of popcorn.  I like butter on mine so get thee to a kitchen and start popping will you.

Look, the reason why JW is so revered on this site is because he's one of the only composers out there who can successfully compose music for anything.  Whether it's the next Hollywood blockbuster or an infomercial for Shamwow.  The music he composes can stand on its own without the visual media it's composed for.  Not only that but he can do it with an orchestra!  He doesn't have to go the synthesizer with the one-note cookie cutter emotion sound designs that other lesser composers all too often depend upon.

Regarding Star Wars.  Yes it's dumb but, like Errikos said, it's a space opera.  What turned me, and majority of evrybody else, on were the spectacular special effects (remember, this is 1977).  When Episode I was released all the critics who tore it apart really pissed me off because they missed the point.  They made claims like "Oh the script is terrible.  The story is bad.  The little kid can't act.  What was George Lucas thinking?" 

Who the hell goes to see Star Wars for the story and the acting?  You go for the action.  It's a roller coaster ride.

Now some would argue, well yeah but The Exorcist was dumb too yet it was a well written brilliantly filmed movie (didn't really need Nitzche's score nor Oldfield's theme IMO).  Well if you think the Exorcist is just a horror movie about a little girl who is possessed by the Devil you missed the whole point.  The Exorcist is simply about a priest who loses his faith and the extraordinary circumstances that cause him to regain it.  That's it.  A simple story told in an extraordinary way.  Kind of like Star Wars.            

@Gianna said:

this is the same as arguing religion or politics. so much fun!

So, are you still having fun Gianna?

C'mon man.  Even my 3 year old knew that JW doesn't do his own orchestrations.  Speaking of popcorn.  I like butter on mine so get thee to a kitchen and start popping will you.

Does your 3 year old know that Williams composes very detailed 8 stave score reductions that are so detailed you or I could "orchestrate" off of them?  This is the reason why his style pervades through his scores and concert works- because he ostensibly DOES orchestrate his own scores, just not in the way most think.  I have copies of his scores from Superman the Movie, Sleepers, and Star Wars and believe me, everything is there.

@Fiery Angel said:

Does your 3 year old know that Williams composes very detailed 8 stave score reductions that are so detailed you or I could "orchestrate" off of them?  This is the reason why his style pervades through his scores and concert works- because he ostensibly DOES orchestrate his own scores, just not in the way most think.

That is true, as Herbert Spencer himself has pointed out. All Hollywood composers worth their salt write orchestrated shorthand. Bruce Broughton - a proper composer/orchestrator - confirmed this to me as applies also to himself.

I am still waiting for Gianna's (I thought it was a she) musical selections to compare with Bach, Beethoven etc. I mean some really mind-blowing stuff which will once and for all make me forget Wagner and his "occasional cute moments"...

Following that, I really welcome Gianna's take on religion and politics - should prove most entertaining...

@vibrato said:

1. Memoirs of a Geisha

2. Munich

3. A.I

4. Munich

...

Well, #4 definitely looks like it's copied from #2...[:)]

 agree on those Vibrato,  and  another John Williams score that is really great   I always remembered - The Fury. It is a somewhat sick but interesting film by de Palma, but anyone interested in film music should see it because there are scenes in it that de Palma allowed Willams a lot of freedom to score and show absolute genius of film and music design working together.  It is the ultimate composer's chops that one guy did that as well as Star Wars and Schindler's List - he has created a  huge range of music.

Is that maybe a constructive comment?

@Chuck Green said:

Just an observation.....  When Star Wars first came out, the score introduced classical music to a lot of young individuals who may otherwise not have been exposed to........

Yeah! Well that and light sabers.

@mathis said:

Is that maybe a constructive comment?

The second I see "By the Director of The Dark Knight" I'm immediately not interested.

@vibrato said:

Where are the following John Williams scores copied from.

1. Memoirs of a Geisha - never seen it.

2. Munich - dreadful voyeuristic nonsense of a film.

3. A.I - interesting but shame Kubrik didn't do as planned.

4. Munich -  still dreadful voyeuristic nonsense

5. War of the Worlds - crappy remake of the original

6. Catch me if you can - garbage basically. And boring ultimately.

7. Saving Private Ryan - and excellent film up to a point with minimal scoring.

8. Schindler's List - great film with a melody that's been challenged in Jewish musical circles.

9. Jurrasick Park - one of life's great themes from the movies and an all round fun film.

10.The Terminal - voyeuristic and quite boring.

11. Minority Report - well done. Can't remember anything much about the score or the film.

Lists of films are great fun. let's do some more.  [:D]