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I´m not a Zimmer hater at all - but I hate the fact that his factory is dominating the movie score world with a particular sound.
That does not preclude me from liking some of those scores, MAN OF STEEL included.
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I do have to say a few things about Zimmer... he has produced and pushed film music in new and exciting direction.
Like all innovation, it's not always perfect or great or ideal, but he's definitely doing his job to forward the world of Film Music.
I like a lot of OLD Zimmer scores... his more orchestral... Lion King, Muppet Treasure Island, Gladiator, Prince of Egypt... these sorts of sounds.
Some of his more modern ones like Man of Steel, Batman, etc... do tend to bore me. Now that's not to say they don't have strengths or good points, but it's not a direction I like. I think it's too big, too self-important, too declarative. Now there are films where this is necessary... such as fantasy films. An example of a film that did well with this sound was "Tron Legacy." Although not Zimmer, it had many similar styling (orchestral mixed with synth, some bombast with driving melodies and beats).
His work in producing scores with up and coming composers, building a bridge to the future while imbuing it with his personal touches is almost like the composers of old having apprentices and passing on the craft.
All of these impress me about him. His work, especially modern, is not something I follow actively although I do like this and that from his modern repertoire but I think Zimmer's lasting impact won't be on what he does directly to film music (at least not his modern work in film), but in the people he's passing film scoring techniques to and what they influence in the future.
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If you limit his influence to such things, then I agree, others would have, but I mean much more broader strokes than this.
His clasically influenced bombast of a sonic experience, using synth, motives, and sounds to develop in a fully surrounding experience is something that we've come to expect in film now (although it's not something I personally prefer).
I know that many composers have, through the years, been directly or indirectly influenced by his work and many of his scores are still used for temp music, trailer music, or as action-drama cues.
I don't personally enjoy many of his newer melodically bare scores, but this is his path and I think it's fascinating how innovative he's being.
Williams will write a score that is unique to each individual film and in a way uses this to "push" the concept of a classically inspired film score, but Zimmer pushes (or pushed) in many directions.
I can find value in the effort, even if it doesn't always work
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Posted: |
Oct 11, 2013 - 3:26 PM
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By: |
facehugger
(Member)
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His clasically influenced bombast of a sonic experience, using synth, motives, and sounds to develop in a fully surrounding experience is something that we've come to expect in film now (although it's not something I personally prefer).
Michael Bay's brainless explosions, blue and orange color schemes, low-angle 360 shots, hot babes in a golden sunset, racially stereotypical and offensively dumb characters and senseless production designs, using CGI, pyro-techniques, and Megan Fox to develop in a fully deafening experience is something that we've come to expect in film now.
Michael Bay is an innovative genius then.
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