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Figures, right? I'll take the thousand in unmarked bills. OR marked. You know, whichever.
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You know... Zimmer isn't maliciously destroying film music. It's not his fault if the sound and style he introduced into certain genres 20 years ago made such an impact that many filmmakers want that sound for their movie. Zimmer didn't plan to somehow infiltrate film composing back in the 80's with a diabolical scheme to "ruin" it over the course of 30 years. Get a grip on reality, all art forms change over time and they don't always change in a direction you personally enjoy, it's just a fact. Film and film music made shifts over the last few decades, we can all discuss what works and what doesn't, but Zimmer is not some puppet master gleefully burning it all down.
I'm so tired of fan outrage.
Very well said. Especially the part about all art forms changing over time. To my ears, these newer scores, at their best (meaning the most effective scores in the most effective films), work just as well to support their films as scores of previous generations. There is in general less of musical interest - or at least of musical variety, and theme and development - in scores like this than in the busily-composed scores of yesteryear. But that does not make one genre better and the other worse, it just makes them different, and everything else is personal taste.
One more point - Banos was praised when he sounded like Herrmann, but dissed when he sounds like modern film scoring? That's making a pretty fine distinction between what kinds of music it's ok to ape.
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I'm pretty sure Baños is on the film because of the whole shoot in Spain/must use a Spanish composer thing that's going on right now. It's why Brian Tyler didn't score Fast & Furious 6, for instance.
This is exactly the case. It's the only reason HZ didn't score it. He chose Roque himself actually...
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It´s actually a pretty good score. The samples don´t do it justice. If you like Banos, give it a chance!
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Posted: |
Dec 27, 2015 - 2:59 AM
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By: |
Gunnar
(Member)
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I saw this yesterday & quite enjoyed it (despite the huge liberties taken with the true story), but I could see why it's a bit of a flop.
That's exactly how I felt. Lots of craftsmanship in many respects, but it doesn't really click as a whole. Which is a shame, because the story is great material and Howard is a gifted director, and the photography and sets were very enjoyable.
What I can say is that a friend who didn't know the story absolutely hated the second part of the film, whereas I knew how the story went and found the time in the whale boats not grating at all - I guess because I knew that it was the terrible build up for events to come.
I'm a big fan of seafaring soundtracks and agree with you: A few decades ago this film would have been prime material to deliver such a score. But these times seem to be gone (for now). It's quite a shame, especially as for my taste, there hasn't been developed an "updated" approach to seafaring scoring yet. Carter Burwell might be a good candidate, or Christopher Young, and Christopher Gordon for sure (although he went for a more eclectic approach in MASTER & COMMANDER).
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