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An all time new low calling other people here uneducated....
"Uneducated" in the sense that people think dolphins only eat fish, merely because that is all that they are fed.
If dolphins only knew that steak existed...
*sigh* Another Zimmer thread.
I keep hearing this argument that Zimmer is so popular because that’s what everyone hears. So how did he GET popular back when “all anyone heard” was Williams, Goldsmith, Horner, Barry, etc?
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*sigh* Another Zimmer thread.
I keep hearing this argument that Zimmer is so popular because that’s what everyone hears. So how did he GET popular back when “all anyone heard” was Williams, Goldsmith, Horner, Barry, etc?
Just look at Yor for your answer. There is a Yor/Zimmer parallel...when they both first started, they garnered some fans because what they were doing was different...unusual. Then because of that popularity they started showing up more and more often, until it was the normal thing to see them. Then all of sudden...they were everywhere...and the resentment started. Next came the backlash against them...because they were doing things that people were not happy about...and they just wouldn't stop. Now we can't get rid of them even if we try. No matter how much we want them to just go away, they aren't going to.
So yeah...
That's the second funniest thing I've read today.
(First was "Detroit Is Bankrupt. Time to Turn The Whole Thing Over to Omni Consumer Products.")
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Well this is kind of how I felt when Elfman got tapped for Raimi’s first one.
I’m not joining the Zimmer haters but I am definitely getting Zimmered out. (But I’d take a Jackman or Powell score in a heartbeat.)
Did Horner not want to do 2 or was he not asked back? I liked his first one a lot.
I agree. I'm not hating on Hans, let's be clear. But whenever any ONE composer monopolizes the scoring landscape it's not as much fun. I got Desplat burn-out last year or so when he was scoring something like 10 films per year.
For my tastes, which are admittedly not necessary popular, I don't think any composer has nailed Spider man. Elfman got close with his "spider wall walk" music (when Parker first discovers his powers) but frankly the scoring is way to heavy handed for the character who I grew up (I collected comics from 1976-1988 pretty heavily). Something like Stu Phillips' theme was lean, mysterious and purposeful. His 3 note central motif perfectly characterized Spidey. I found Elfman's full orchestra/choir to be too bombastic for the character. I didn't like Horner's effort either.
A composer with that kind of lean, economical scoring style would be a better fit than Zimmer IMO. I think Brian Tyler's groove based scoring style would actually be a good fit. Rhythmically active but with orchestral reinforcement. I do recognize that Phillips' and even the '60s Spiderman animated score were drawing from popular music of their day that was quasi jazz so it makes sense that a contemporary Spiderman would draw upon current popular styles.
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Since no-one's seen the film (because they haven't finished it) or heard the score (because it hasn't been recorded yet), would it be fair to say that any opinions as the merits (or lack of) of the film and/or the score are worthless? And would it also be fair to say that anyone whining about it quite literally doesn't know what the f*ck they're talking about? I don't know, maybe I missed the clairvoyance classes, but how can anyone know that a score they haven't heard will ruin a film they haven't seen, and they won't for another nine months?
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Ever heard a thing called "track record"?
Then I guess Spidey's in good hands. Man of Steel is not a track record.
I think Brian Tyler's groove based scoring style would actually be a good fit. Rhythmically active but with orchestral reinforcement.
I just passed out reading that. And woke up happy!
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YUCK! Another Zimmer mess coming. Horner's repeating himself ad infinitum and ad nauseam, but that's still better than a "composer" who delivers crap for least-discerning listeners at EVERY SINGLE turn.
And someone else is "probably 11 years old". 
Yawn!
Yep, it's your nap time!
LOL. Good one.
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Since no-one's seen the film (because they haven't finished it) or heard the score (because it hasn't been recorded yet), would it be fair to say that any opinions as the merits (or lack of) of the film and/or the score are worthless? And would it also be fair to say that anyone whining about it quite literally doesn't know what the f*ck they're talking about? I don't know, maybe I missed the clairvoyance classes, but how can anyone know that a score they haven't heard will ruin a film they haven't seen, and they won't for another nine months?
Ever heard a thing called "track record"?
Sure. But Hans Zimmer doesn't have a track record of ruining superhero movies, so there isn't a track record to base the predictions of doom and disaster on. He didn't ruin the Nolan Batmans - they managed well enough, though I'm not much of a fan (especially of 2 and 3), and he certainly didn't ruin Man Of Steel because the score was the least of that film's problems and nobody, not even Goldsmith in his prime, could have saved it.
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I cannot wait for Zimmer's two-note Spiderman theme!
If he tries real hard he might be able to reduce it to one-note. 
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Sure. But Hans Zimmer doesn't have a track record of ruining superhero movies, so there isn't a track record to base the predictions of doom and disaster on. He didn't ruin the Nolan Batmans - they managed well enough, though I'm not much of a fan (especially of 2 and 3), and he certainly didn't ruin Man Of Steel because the score was the least of that film's problems and nobody, not even Goldsmith in his prime, could have saved it.
Which is why I said in another post that Zimmer is just this crappy film ("crappy" based on the director and studio's track record) needs.
Well, I don't know the director beyond his other Spiderman film, which was okay - I preferred it to the Raimi series, but I can't get that excited about Spiderman anyway - and 500 Days Of Summer which I didn't see but isn't a superhero movie anyway so isn't relevant. No idea what the "studio" has got to do with anything. Again, no track record to make any kind of judgement on.
Why not wait and see the film before pronouncing?
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I loved the first film and Horner´s score.
And I´m waiting for Zimmer´s score before I decide whether to like or to hate it.
Sorry for the positive opinion.
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