 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EW radio has been discussing MOS continuously since last Wednesday, throughout its program lineup.
Everytime the subject has con=me up the Williams theme is played in the background.
Even when Zimmer himself was on - he praised JW as "the Master" - the new score wasn't played.
Sounds like the theme is failing catch on
LOL!
bruce
|
|
|
|
|
|
|
 |
Posted: |
Jun 18, 2013 - 3:05 PM
|
|
|
|
By: |
Reeve
(Member)
|
http://www.filmtracks.com/titles/man_steel.html
An honest review of the 2 CD deluxe edition. (Zimmer admirers - it only gets one star)
Here is an excerpt:
Zimmer is no doubt the most famous composer of the contemporary generation, reaching heights near where John Williams was in the late 1970's. Although Williams is still alive and productive at this time, his pencil-written mastery is no longer cool to a generation hell bent upon causing itself hearing loss courtesy film music that emphasizes its bass region without restriction. Zimmer's success has come about by a fair amount of luck, his lack of classical training in music steering him towards a career dominated by the production of music rather than the creation of it through the use of its many linguistic complexities. He has lived the ultimate life of a soundtrack fanboy, loving Williams, Ennio Morricone, Danny Elfman, and a host of his peers past and present, and remaining very humble in the respect he professes for them. But due to his knack for composing the right scores at the right times, teaming up with the right directors, and surrounding himself with an army of musicians (ghostwriters, some will say) at his own production house, he has landed himself in assignments not befitting his capabilities.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jun 18, 2013 - 3:26 PM
|
|
|
|
By: |
Francis
(Member)
|
http://www.filmtracks.com/titles/man_steel.html
An honest review of the 2 CD deluxe edition. (Zimmer admirers - it only gets one star)
Here is an excerpt:
Zimmer is no doubt the most famous composer of the contemporary generation, reaching heights near where John Williams was in the late 1970's. Although Williams is still alive and productive at this time, his pencil-written mastery is no longer cool to a generation hell bent upon causing itself hearing loss courtesy film music that emphasizes its bass region without restriction. Zimmer's success has come about by a fair amount of luck, his lack of classical training in music steering him towards a career dominated by the production of music rather than the creation of it through the use of its many linguistic complexities. He has lived the ultimate life of a soundtrack fanboy, loving Williams, Ennio Morricone, Danny Elfman, and a host of his peers past and present, and remaining very humble in the respect he professes for them. But due to his knack for composing the right scores at the right times, teaming up with the right directors, and surrounding himself with an army of musicians (ghostwriters, some will say) at his own production house, he has landed himself in assignments not befitting his capabilities.
Sorry but had to laugh at the following from that paragraph alone, and safe to say I wont be reading the entire thing; from the reviews I've been reading it seems reviews needs a renaissance as well. Not to mention reviewers need therapy to deal with their Zimmer issues. 
Although Williams is still alive and productive at this time, his pencil-written mastery is no longer cool to a generation hell bent upon causing itself hearing loss courtesy film music that emphasizes its bass region without restriction.
So Williams is no longer cool to new generations? That's a bold statement, I'd like to see the survey work on that one.
He has lived the ultimate life of a soundtrack fanboy, loving Williams, Ennio Morricone, Danny Elfman, and a host of his peers past and present, and remaining very humble in the respect he professes for them.
Did Ford Thaxton write this review? 
he has landed himself in assignments not befitting his capabilities.
And yet those assignments are made successful partly due to his involvement; if "luck" has him do these movies as that paragraph alludes too, why is he continually being asked to return to score them? Where does he keep that leprechaun locked up or what deal with the devil did he make?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sorry but had to laugh at the following from that paragraph alone, and safe to say I wont be reading the entire thing; from the reviews I've been reading it seems reviews needs a renaissance as well. Not to mention reviewers need therapy to deal with their Zimmer issues.
Although Williams is still alive and productive at this time, his pencil-written mastery is no longer cool to a generation hell bent upon causing itself hearing loss courtesy film music that emphasizes its bass region without restriction.
So Williams is no longer cool to new generations? That's a bold statement, I'd like to see the survey work on that one.
He has lived the ultimate life of a soundtrack fanboy, loving Williams, Ennio Morricone, Danny Elfman, and a host of his peers past and present, and remaining very humble in the respect he professes for them.
Did Ford Thaxton write this review?
he has landed himself in assignments not befitting his capabilities.
And yet those assignments are made successful partly due to his involvement; if "luck" has him do these movies as that paragraph alludes too, why is he continually being asked to return to score them? Where does he keep that leprechaun locked up or what deal with the devil did he make?
What do you mean by "sucessful"? That those movies made a lot of money?
Well, Britney Spears also makes a lot of money.
So she must be that good, acording to your logic, right?
|
|
|
|
|
|
|
Sorry but had to laugh at the following from that paragraph alone, and safe to say I wont be reading the entire thing; from the reviews I've been reading it seems reviews needs a renaissance as well. Not to mention reviewers need therapy to deal with their Zimmer issues.
Although Williams is still alive and productive at this time, his pencil-written mastery is no longer cool to a generation hell bent upon causing itself hearing loss courtesy film music that emphasizes its bass region without restriction.
So Williams is no longer cool to new generations? That's a bold statement, I'd like to see the survey work on that one.
He has lived the ultimate life of a soundtrack fanboy, loving Williams, Ennio Morricone, Danny Elfman, and a host of his peers past and present, and remaining very humble in the respect he professes for them.
Did Ford Thaxton write this review?
he has landed himself in assignments not befitting his capabilities.
And yet those assignments are made successful partly due to his involvement; if "luck" has him do these movies as that paragraph alludes too, why is he continually being asked to return to score them? Where does he keep that leprechaun locked up or what deal with the devil did he make?
What do you mean by "sucessful"? That those movies made a lot of money?
Well, Britney Spears also makes a lot of money.
So she must be that good, acording to your logic, right?
Yes, Britney Spears is in fact good if not great "in pop music."
Multiple # 1s, various awards, millions of albums sold, a career spanning 20...
Yea, like it or not she has in fact outlasted her peers and is widely successful in a genre that people come and go in months.
There is some talent there... look no further then all those American Idols who fall into obscurity every year.
|
|
|
|
|
|
|
So... we can say now that Hamzimmer is the Britney Spears of film music?
|
|
|
|
|
|
|
|
|
Posted: |
Jun 18, 2013 - 3:47 PM
|
|
|
|
By: |
Francis
(Member)
|
What do you mean by "sucessful"? That those movies made a lot of money?
That they're good and entertaining movies; Sherlock Holmes, Dark Knight, Rango, Inception, The Ring, ... just to name a few.
Well, Britney Spears also makes a lot of money.
So she must be that good, acording to your logic, right?
Yor need not worry, Francis not like teen pop idol. Ugh, I just can't type in retard fashion (never go full retard they say, I guess that's the trick).
What I was alluding to is that the reviewer has a predisposed notion of Zimmer and generalizes his track record and achievements by simply citing 'luck' as the deciding factor. Surely in such a controlled and tight environment as a (blockbuster) film production someone doesn't get hired by chance alone?
And to follow your logic concerning the money, wouldn't people like Fiedel and Faltermeyer still be scoring blockbuster movies today simply based on box office returns of movies they worked on?
|
|
|
|
|
|
|
|
|
Posted: |
Jun 18, 2013 - 4:05 PM
|
|
|
|
By: |
MikeP
(Member)
|
Here, have a McBurger for good taste. It's extremely nutritious and healthy.
If McBurger is not enough, please also have some Kentucky Fried Chicken, complete with its greasy energy.
Afterall, these are all "what contemporary people want" aren't they?
Why, yes, condescension is the first step in convincing others of your superiority, followed by badgering and endless repetition for days and weeks on end. 
You don't like the score. You think others who do like the score and others like it are ignoramuses. Congratulations on being an apotheosis of mankind, but give it a rest already. You've sufficiently expressed yourself.
Yep, aside from the entire debate and ridiculous flame-fest led by Yor, the thread has really taken on an unseemly feel. Aside from, as you said, the arrogant condescension, the whole tag of "zimmerlovers" and such is just distasteful and to be honest, really recalls other very similar and hate-fueled terms.
The constant attack is "you like this score and you're a moron. Oh gee...are you just being sensitive to my calling you stupid ?" Zimmerlover, Zimmerites? How f*cking idiotic can you be?
Goldsmith is my favorite composer and in my mind, the best we've had. I also love Williams, Horner, Waxman ... Korngold not so much, just never connected to his work ... and many other Silver/ Golden age and current composers. Also I'm fond of quite a number of Zimmer scores. However, since I don't accept your ultimate truth, that makes me one of the great unwashed.
Zimmerlovers... hmmm. I'm guessing next you'll turn the hoses on those who don't share your views? Or let the dogs loose on us?
|
|
|
|
|
|
|
|
|
|
|
What do you mean by "sucessful"? That those movies made a lot of money?
That they're good and entertaining movies; Sherlock Holmes, Dark Knight, Rango, Inception, The Ring, ... just to name a few.
Well, Britney Spears also makes a lot of money.
So she must be that good, acording to your logic, right?
Yor need not worry, Francis not like teen pop idol. Ugh, I just can't type in retard fashion (never go full retard they say, I guess that's the trick).
What I was alluding to is that the reviewer has a predisposed notion of Zimmer and generalizes his track record and achievements by simply citing 'luck' as the deciding factor. Surely in such a controlled and tight environment as a (blockbuster) film production someone doesn't get hired by chance alone?
And to follow your logic concerning the money, wouldn't people like Fiedel and Faltermeyer still be scoring blockbuster movies today simply based on box office returns of movies they worked on?
YOR agrees that Zimmer is sucessful as any other people with no talent or skills that nevertheless are able to make a lot of sucess and money in the art business.
As for you question, any superhero score was good, except the ones made by Zimmer, his clones and other composers forced to produce in the "zimmer style"...
|
|
|
|
|
|
|
|
|
|
|
Hi guys, new poster here. I'm gonna give my two cents in :
I like Zimmer's MOS score. It's not anywhere near Williams' score, nor Hans' himself best score, and I greatly prefer his work on TDK trilogy, but it's a good listen nonetheless.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The problem with the score, is that it is NOT A SUPERMAN SCORE!
It is a score for a Superman film. Hence, it is a Superman score.
Whether you associate Williams´ themes with Superman or not is your personal business.
Just as it is mine if I associate Williams´ themes with Christopher Reeve as Superman.
But this is a new version of Superman. And Zimmer´s score is his version of Superman.
Why is this so hard for people to acknowledge? Move on, people. Take it or leave it, like it or hate it - but grow up.
|
|
|
|
|
|
Then why do you continually post in this thread, page after page, response after response when -if I look- you made your opinion clear the first post you made? When you've also made another thread for the sole purpose of trolling? When you didn't stop there and basically troll every thread with Zimmer bashing?
Your stick is getting old Yor, time for a retune.
YOR ask you the same question.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
