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Posted: |
Jul 21, 2013 - 4:49 PM
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By: |
facehugger
(Member)
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Did the idea come from Klaus or did he just wrote according to some specifications. I think people tend to forget that, as a person who's headlining the score, he's directly responsible for what get into the movie, and Hans is as responsible for all of the tracks that Klaus has attributed assumed the "written by".
Fair enough.
Let's agree that Zimmer and his "colleagues" (i.e. MediaVenture studio, founded by Zimmer AND Rifkin, of which Mark Mancina and Glennie-Smith were among the first associates) collectively created those famous scores, shall we?
Yet when the general public refer to those kind of sound, they say "it's the Hans Zimmer sound" instead of "it's the MediaVenture sound." Compare this to, say, the trailer music of the "Immediate Music" production studio.
In this sense, I think Mancina, Glennie-Smith and especially Badelt deserve more than what they have now.
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In this sense, I think Mancina, Glennie-Smith and especially Badelt deserve more than what they have now.
Especially Mancina. Speed was the first score where I noticed that "Zimmer" sound. Back then, the music from The Rock was used to advertise a Dutch tv show (this was before I had seen The Rock on the video), and I actually thought it from a Mancina score I hadn't heard yet. So I knew that sound before I knew about Zimmer
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The Missing and The Legend of Zorro have plenty of edge to them! In fact I think the Zorro sequel score is even more fresh and exciting than the original Mask of Zorro, which I loved too.
Yavar (sometimes Horner-basher, but those two in particular are awesome)
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Posted: |
Jul 22, 2013 - 6:15 PM
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By: |
facehugger
(Member)
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I'm of the opinion that Horner lost his edge not long after scoring "A Beautiful Mind." Since then, he seems to be doing a lot of retreading. When he does attempt something "new," I find it to be safe and bland. A pity, because I found a lot of his earlier work to be bloody brilliant.
Its funny that right around then, he made his infamous statement of "running out of notes". He seems to have done just that, though I do like a couple of things like Troy or Boy In The Stripped Pajamas. Amazing Spider-Man wasn't to my taste but then I also found the movie a reprehensible and joyless bore.
Interesting.... well, he has pretty much confined himself to his style and hasn't branched out all that much. Granted, few film composers or composers in general are able to successfully compete against themselves.
Apocaplypto is THE innovative Horner score during the 2010's. Actually, I'd even say it is one of the most innovative score during the 2010's, among any composer's output.
Unfortunately that innovative "jungle" sound has since been added to Horner's "ready-to-recycle" list ("AVATAR" feels like the stew of every Horner(TM) cliche that ever existed, complete with Apocalypto tribal singing, Troy wailing woman, and of course, danger motif).
Interestingly, Zimmer does the similar thing: once he discovered the effectiveness of ostinato, he just had to use it in every imaginable way; same thing with Inception horn of doom, and Sparrow playful tune.
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I think TAS1 was just fine. Not sure what the hate is about. It worked pretty well.
I loved it, too. And the score as well. A real shame that Horner was not invited back.
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