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I was completely depressed listening to this trash & thats exactly where I thru it.
Too bad, I would have given you a couple of bucks for it.
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Or, perhaps, "Yor, The Hunter From The Future"? 
"Yor, The Hunter From the Future" best movie of all times!
And with great score by master John Scott and Guido and Maurizio!
Hanzimmer would have to give his two legs to the devil to be able to compose like... Guido and Maurizio!
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This is possibly the most entertaining thread I've read in a long time! I was thinking of seeing the movie this weekend... but I hate feeling trapped in a movie I despise after only 15 minutes or so of viewing and I suspect Yor & his like-minded friends have just saved me from one of those experiences. Besides, I'd probably be thinking about Yor's review the whole time anyway. And I don't need to pay 12 bucks to read that again!
And yes... a bad score can really hurt a movie for me. But what the hell, most Hollywood movies today suck anyway. See Sturgeon's law. And most are made for "angry teenagers," so it doesn't surprise me they'd be scored for "angry teenagers" too. Nice observation, Yor.
It further occurs to me that people who use the much ballyhooed "ignore" function don't want to hear anything they might disagree with. Probably big fans of talk radio. Although I was considering using the "ignore function" on myself, but then I'm a big fan of paradoxes so what does that tell you? I do still wonder what would happen...
Probably it tells you I should like Zimmer's music. Zimmer IS a paradox. He's easily the most influential voice in film music in the last 2 decades... and I'm truly impressed by that... but he hasn't written anything I haven't been disappointed by. And that's very unimpressive.
I thank Yor for putting his opinion in such direct terms, giving me many chuckles, and saving me some money.
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Posted: |
Jun 14, 2013 - 3:56 AM
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By: |
Mike West
(Member)
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"I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me." - Arvo Pärt
No one will accuse Zimmer of having "complex" music, but the composer above is noted for his simplicity...something Zimmer gets chastised for all the time.
Well, chastised by the cognoscenti on FSM.
Hahaha, well, apples and oranges.
And Pärts simplicity is something you can't repeat.
Zimmer's is more like found gatherings of simple letters combined to simple words combined to simple sentences by trial and error and by chance, not on purpose.
That's different.
But it is ok and sometimes the results are great, more often they are a good sound Design for a movie working in context but exchangeable music on it's own virtually everyone can find with a trial-and-error-method and equipment.
Really, I am saying this as someone you taught music and composition for many years.
Zimmer is a genius for setting himself in place where he is right know.
From there he can define standards, that is phenomenal.
50 years ago there was more knowledge in hollywood and no equipment and he would never be able to score a picture, I am sure of that. But so what. He is here, and in this times aesthetics of film scoring have changed to that ambience no man's land everybods can produce.
I wonder what happens when producers find out that you don't need to spend a million to get that sounds but can have computer software generat it for you or mix it by your own for a small particle of the costs
But films are about names
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This is possibly the most entertaining thread I've read in a long time! I was thinking of seeing the movie this weekend... but I hate feeling trapped in a movie I despise after only 15 minutes or so of viewing and I suspect Yor & his like-minded friends have just saved me from one of those experiences. Besides, I'd probably be thinking about Yor's review the whole time anyway. And I don't need to pay 12 bucks to read that again!
And yes... a bad score can really hurt a movie for me. But what the hell, most Hollywood movies today suck anyway. See Sturgeon's law. And most are made for "angry teenagers," so it doesn't surprise me they'd be scored for "angry teenagers" too. Nice observation, Yor.
It further occurs to me that people who use the much ballyhooed "ignore" function don't want to hear anything they might disagree with. Probably big fans of talk radio. Although I was considering using the "ignore function" on myself, but then I'm a big fan of paradoxes so what does that tell you? I do still wonder what would happen...
Probably it tells you I should like Zimmer's music. Zimmer IS a paradox. He's easily the most influential voice in film music in the last 2 decades... and I'm truly impressed by that... but he hasn't written anything I haven't been disappointed by. And that's very unimpressive.
I thank Yor for putting his opinion in such direct terms, giving me many chuckles, and saving me some money.
What do you mean disappointed? Are you looking for John Williams in everything every composer does?
Are you one of those looking for "complexity" in his music?
Complexity: Hell yes!
John Williams: I'll take him when I can get him... but personally not a huge fan of Williams. His more complex scores, like CE3K and other earlier 70's endeavors however have remained enjoyable after decades of familiarity with them.
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Nice to see people with good taste for music around here!
There is still hope for western civilization afterall!
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It took me 2 days to listen to this soundtrack because it is such a drag. I'm not a Zimmer fan but, I do enjoy some of his earlier work pre-Gladiator and a few since. I didn't mind POTC3 and also enjoyed Batman Begins.
Man of Steel has to be the worst Zimmer score I've ever heard, I don't even see how Zimmer fans like this score. There is just nothing fun or enjoyable about listening to this album. It's just bad music and an insult to Superman music. I don't know what Zimmer's goals were but, I think he failed miserably... unless giving out headaches was his goal.
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No spoilers, but I saw the film this afternoon and I honestly didn't like it. For a variety of factors, of which Zimmer's entirely unmemorable score is just one. Thinking about it, I honestly couldn't tell you a thing about the score, I cannot remember a note of it. All it achieves is to remind you how wonderful John Williams' music was.
This might actually be Snyder's worst film thus far, worse even than Sucker Punch though for completely different reasons. (I liked Dawn Of The Dead a lot and I enjoyed 300 though I haven't seen it since its cinema release; but I was meh about Watchmen and Sucker Punch was uncomfortable viewing in the worst way.)
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Chugga-chugga-chugga (BWAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHH)
Hey, that is much better than "Man of Steel"!
Would you like to score YOR's next movie??
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Chugga-chugga-chugga (BWAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHH)
Hey, that is much better than "Man of Steel"!
Would you like to score YOR's next movie??
The studio is expressing interest in "Man of Steel" sequels.
Can't say the same for a "Yor: Hunter From the Future" sequel...
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The studio is expressing interest in "Man of Steel" sequels.
Can't say the same for a "Yor: Hunter From the Future" sequel...
Did Girl With Condom In Avatar just tried to annoy YOR by suggesting his movie is not good enough to studios wanna make sequels of it?
Dear Zod! This girl is evil!
YOR bets she like the "Transformer" trilogy too, movies AND wall-of-noises!!
"Hey, you, Girl With Condom In Avatar! Said nasty things about our movie?"
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Why men run from mighty words of great Yor?
Me agree to some extent.
Imagine you've never heard any of the recent batch of 'super-hero' youth movies. Imagine you haven't been exposed to a single bar of the 'copycat drone & ostinato' type of generic score, slightly 'informed' by Herrmann fantasy stuff.
So you're seated at your manuscript paper/synth/piano/software package, and you're told to score a film about Batman, Superman, Spiderman, Fatman the Human Flying Saucer, Monkey-Boy, etc.. You have a clean slate, a tabula rasa, you're left to your own creative devices, and there are no influences to infect you, and no-one's reminding you about quick-edit requirements, or the youth market's expectations.
Under THOSE conditions, what would be the style you'd choose?
Well, as with Elfman, you'd certainly relate the 'shadow/alter-ego/tortured components of the psyche' stuff to a Bernard Herrmannesque notion, plus his associations to the fantastical in some of the childrens' movies.
BUT, I'd bet the FIRST thing that the Muse would pop into your head would be LEITMOTIF, because those 'bigger than life' pulp-operatic fantasies REQUIRE, and LEND THEMSELVES AUTOMATICALLY TO, a leitmotif style. How can a character like Thor not have a great forceful motif on black trombones or parallel-fourth horns? And please don't shout 'cliche' because that's the whole nature of that genre, the big ego/shadow/self soap opera writ big.
I'm not the biggest fan of this fare, but surely it provides the most lively opportunities for big, romantic, Wagnerian scoring.
And yet ... it never happens, except for Williams' material.
Raise your clubs high and fall in behind the mighty Yor.
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