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Hilarious! But, honestly, the "real" Superman couldn't be bothered.
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Very, very funny!
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Well done, editing-wise, but rather tasteless and offensive as a project. Whether you're a fan of the score/Zimmer or not.
What I don't get -- personally -- is why it is so difficult for people to evaluate the scores based on the FILMS' and SCORES' own terms. I don't understand the need to compare these two, which are so very different in style and approach. Apples and oranges.
Exactly.
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Posted: |
Jun 25, 2013 - 5:58 AM
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By: |
Devmo
(Member)
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Well done, editing-wise, but rather tasteless and offensive as a project. Whether you're a fan of the score/Zimmer or not.
What I don't get -- personally -- is why it is so difficult for people to evaluate the scores based on the FILMS' and SCORES' own terms. I don't understand the need to compare these two, which are so very different in style and approach. Apples and oranges.
I suspect this is a particularly poignant reminder of how much the current of film scoring has changed since the days of orchestral leitmotif scoring.
Personally, I don't think the new comic book versions are nearly as different in style and approach as they would like the audience to believe - we're still talking about a man fighting crime in a suit with pointy ears, and an alien flying around in a red cape.
In my opinion, the decision to say "take this really really seriously, this is just like reality" is immediately less interesting, and has less creative possibility, than stating straight off "this is not real, it's cinema, it's a comic book... let's move on from there" .. if that makes any sense. That's just my opinion, though.
I did enjoy the sound design approach of the Reznor / Fincher collaborations, but for the comic book movies - not so much.
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Posted: |
Jun 25, 2013 - 1:23 PM
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By: |
Thor
(Member)
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Personally, I don't think the new comic book versions are nearly as different in style and approach as they would like the audience to believe - we're still talking about a man fighting crime in a suit with pointy ears, and an alien flying around in a red cape.
You're talking about CONTENT material. It has nothing to do with style and the way that particular story is realized.
In my opinion, the decision to say "take this really really seriously, this is just like reality" is immediately less interesting, and has less creative possibility, than stating straight off "this is not real, it's cinema, it's a comic book... let's move on from there" .. if that makes any sense. That's just my opinion, though.
Personally, I think the opposite -- I love films (even comic book films) that take themselves very seriously and try to strive for realism. It makes for a great thought experiment. That being said, there wasn't really a strive for realism in MoS. Rather, it was an exercise in Snyder's larger-than-life excess, imagination and ideas. I loved that part of it.
No, the problem is Zimmer's "score" is generic piece of crap, which is exactly the same as he has been producing for the past xx years. no proper main theme that would be worthy of the subject. That's the main problem. I simply couldn't care less if he uses any of Williams' score and it is right decision that he didn't as this movie has nothing to do with the "original" and is its own thing. The problem is the score is just so simple and boring that it becomes a joke in itself and can't be taken seriously.
Well, that's your opinion. I don't share it. I think I'm one of the few who aren't either strongly pro or con. I'm -- as of now -- quite middle-of-the-road on the score as a listening experience. But I think it works perfectly in the film.
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Posted: |
Jun 25, 2013 - 2:16 PM
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By: |
MattyT
(Member)
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I really don't get the point. When Zimmer's made a score completely away from the original, that's wrong. And, had Zimmer made a score similar (i.e. used the theme(s)) to the original, that would probably been even worse. Clearly the only acceptable thing would be that Williams himself did the score. Or something like that. Move on.
When that's said, personally I have no interest whatsoever with this, or any of the other recent scores by Zimmer. I miss the good old 90s / early 00s - Zimmer.
No, the problem is Zimmer's "score" is generic piece of crap, which is exactly the same as he has been producing for the past xx years. no proper main theme that would be worthy of the subject. That's the main problem. I simply couldn't care less if he uses any of Williams' score and it is right decision that he didn't as this movie has nothing to do with the "original" and is its own thing. The problem is the score is just so simple and boring that it becomes a joke in itself and can't be taken seriously.
Exactly! The point of this "joke" is to show that Zimmer's score completely lacks any memorable theme or identity for the Superman character. It's simply noise. I happen to like a lot of Zimmer scores and there have been times he's come through with a killer score, but MOS was a horribly missed opportunity. Like the film itself, the score was missing heart. Even The Dark Knight had a better score and something that helped define the character. It shouldn't have come even close to sounding like Williams, but I can think of other Media Ventures composers who I think could have done a way better job at scoring MOS than Zimmer. Hans himself even said he likes to produce and work on sound design. Go produce then and let a different composer try to give a different take on Superman.
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I love John Williams Superman music because it fits the film perfectly and is a great listen away from the film.
I love Hans Zimmers Man Of Steel music because it fits the film perfectly and is a great listen away from the film.
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Posted: |
Jun 25, 2013 - 3:25 PM
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By: |
Thor
(Member)
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No one reading this thread has to agree with the point of view being expressed in the youtube clip.
It is, after all, the creative product of someone's opinion...as valid as any other.
It is, also, HUMOR.
It's meant to be light-hearted.
Lighten up.
Well, I think it's a rather mean-spirited joke, to be honest (even though it's cleverly done). It basically boils down 'we think the score is awful, and here's our way of making fun of it'. I don't find it particularly light-hearted. Quite the contrary, it hammers its point in rather heavily.
An example of good joke that manages to 'parody' a Zimmer sound while at the same time being respectful is the 'bhaaaam' sound from INCEPTION that popped up a few places, like SOUTH PARK. That was both clever AND funny.
But to each their own. I can see that if you hate the Zimmer score -- which there are many that do -- I guess you could find it funny in a self-affirming way.
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Posted: |
Jun 27, 2013 - 6:10 AM
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By: |
Devmo
(Member)
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Personally, I don't think the new comic book versions are nearly as different in style and approach as they would like the audience to believe - we're still talking about a man fighting crime in a suit with pointy ears, and an alien flying around in a red cape.
You're talking about CONTENT material. It has nothing to do with style and the way that particular story is realized.
I don't think the style or the way these comic book stories are realized are particularly different from previous comic book movies. Or, not as much as the filmmakers would like the audience to believe.
In my opinion, the decision to say "take this really really seriously, this is just like reality" is immediately less interesting, and has less creative possibility, than stating straight off "this is not real, it's cinema, it's a comic book... let's move on from there" .. if that makes any sense. That's just my opinion, though.
Personally, I think the opposite -- I love films (even comic book films) that take themselves very seriously and try to strive for realism. It makes for a great thought experiment. That being said, there wasn't really a strive for realism in MoS. Rather, it was an exercise in Snyder's larger-than-life excess, imagination and ideas. I loved that part of it.
Well... Good. Loving things in film is something I respect.
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