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You could probably find more melody in a silent movie to be honest than in this score!
what "silent movie" has got to do with this?
furthermore is melody the main category you use when judging a score?
many non melodic scores are masterpieces (pota, images, escape from alcatraz, andromeda,....).
Try thinking out of the box.
I was only joking you know!
nobody has seen the film or heard the score in its context. I'm actually liking the etheral pieces from the samples. I actually think Zimmer should have gone for more of that ethereal sound ala Blade Runner, give it something unique.
As it stands, visually the movie looks astounding so looking forward to that. I think most people will agree, we are probably expecting too much for Zimmer to come up with a theme on par with Williams, but maybe the theme he has come up is one of his better ones.
I certainly think 90s Zimmer would have come up with something brilliant, the more recent Zimmer not so much, but hey, i'm only a listener, so you don't have to agree with what i say!
I certainly hope the score makes the movie memorable and I hope the theme is memorable enough that it can be carried over to any sequel.
Far too many superhero movies these days have virtually no iconic distinct theme. Just look at Iron Man 1,2, and 3. No distinct theme created which was reused for each movie. A travesty really, even though each individual score had good moments.
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After meeting Zimmer on Saturday night, I will be giving this a chance at least.
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Apparently a whole track from the OST is streaming via Rolling Stone
http://www.rollingstone.com/music/news/man-of-steel-composer-hans-zimmer-celebrates-mankind-on-dna-20130513
Wow, there is absolutely no musical substance in that track. With computers, everybody can accomplish that track in one day.
Incredible, really nothing original in it, not a single bit of musical grammar.
Where has musical sophistication gone?
It´s really Zimmer´s greatest hits, a mix from his toolbox.
It´s not unpleasant, it´s probably working with the film, and it could have been worse.
But I agree - musical sophistication is nowhere to be found. And the next time Zimmer gives an interview saying how long he thought about this I can only laugh, probably as much as he himself is laughing whenever somebody asks him how he gets his ideas.
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It´s really Zimmer´s greatest hits, a mix from his toolbox. . . . the next time Zimmer gives an interview saying how long he thought about this I can only laugh, probably as much as he himself is laughing whenever somebody asks him how he gets his ideas.
Isn't that how it often is? Horner spends a year on Avatar, talks about how much thought went into creating a new musical world . . . and it sounds like a summation of his career. Or the old joke about how Rózsa would do so much research into the period music for his epics, only to produce exactly what everyone was expecting?
True. But somehow people (like me) fall for that.
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Posted: |
May 13, 2013 - 12:05 PM
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By: |
Mike West
(Member)
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It´s really Zimmer´s greatest hits, a mix from his toolbox. . . . the next time Zimmer gives an interview saying how long he thought about this I can only laugh, probably as much as he himself is laughing whenever somebody asks him how he gets his ideas.
Isn't that how it often is? Horner spends a year on Avatar, talks about how much thought went into creating a new musical world . . . and it sounds like a summation of his career. Or the old joke about how Rózsa would do so much research into the period music for his epics, only to produce exactly what everyone was expecting?
True. But somehow people (like me) fall for that.
I don't think it's Zimmer's greatest hits, it is just a group of very very simple musical bits of grammar, very interchangeable, very redundant, very very easy to compose - or rather to design. There is absolutely no accomplishment in this track. A computer program can generate more interesting music...
Btw, I like the piano theme in the other samples very much on the other hand, and it is a good theme, and I like the music in the end of the newest trailer.
But this track is nothing else than crap.
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Posted: |
May 15, 2013 - 10:42 AM
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By: |
nuts_score
(Member)
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I'm going to share a controversial opinion with you all now, and I could care less if you think I'm trolling or "don't appreciate it like I do" so save those comments and try and have a discussion with me as this board was intended.
I re-watched Donner's first Superman: The Movie and his cut of the second film on Blu Ray over the weekend with my very best of friends. He and I grew up on this film and have had a healthy love of it since we were both kids -- watching it together. We are both great Superman fans (as well as other DC Comics characters and Marvel as well) and anticipate seeing Zach Snyder's The Man of Steel together next month.
I repeat, Superman: The Movie is a movie which I have oodles of affection for.
Now, the controversy herein lay in this: exactly what is so good about Donner's film? To my opinion, of course you have John Williams rousing and wonderfully iconic music, but outside of that only Christopher Reeve's brilliant characterization of Superman makes this film anywhere near a classic. Reeve owns Superman with his performance and makes him live and breathe unlike previous actors like George Reeves (despite the charm to be found in his serials). Jackie Cooper and Glenn Ford also deliver fantastic performances (Ford as the understated and noble Pa Kent, and Cooper as the scenery-chewing Perry White) -- although it could be argued they could sleepwalk those roles by that point in their career. The rest of the cast feels like a waste to me. Donner's direction is fine if as workmanlike as the rest of his career. Geoffrey Unsworth's cinematography is rightly majestic but this guy shot 2001: A Space Odyssey and Cabaret before Superman and his best was behind him.
I will counter that I believe the opening act in Smallville is the pinnacle of the film, but outside of that I'm rarely invested in the plot or actions of the characters outside of Superman's own humility in the presence of being tasked with saving everybody (a routinely boring trait of Superman). The less said of Gene Hackman's hammy Lex Luthor (the least threatening villain in all of cinema history) and his bumbling henchcrew the better we all are.
In my opinion, only the Fleischer Brothers and the team of Bruce Timm & Paul Dini have captured a truly SUPER moving image incantation of the Man of Steel. And both of these teams are animation titans (perhaps Supes works best in the 2-dimensional space of living artwork?). I say there is a lot of room for improvement in Superman's silver screen journey; as well as a in-depth examination of his origin. Let's face it, these hero's origin tales are infinitely more rewarding as dynamic storytelling compared to them saving the world for the hundredth time from some villain of the week.
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