 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Facehugger, you're clearly a troll, so as such I'll be extremely brief because you don't really deserve the attention... BUT...
Hans Zimmer's popularity with audiences is not an opinion and absolutely a verifiable phenomenon. Album sales are all the proof anyone needs that he strikes a chord with the moviegoing public... and his scores consistently chart in the Billboard Top 100, a major feat for a film score by any stretch.
And that's all you're gonna get from me. Enjoy the underside of your bridge.
Popularity isn't always the best indicator of quality. Just look at the current pop/other music charts.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 11, 2013 - 2:20 AM
|
|
|
|
By: |
Francis
(Member)
|
So now we have two Yors? I've said it and I will say it again, if they manage to speak as positively about the scores they love on this board as they do as negatively about Hans Zimmer, there might actually be some constructive discussion.
But as it stands, they spend the majority of their time bashing Zimmer because it's childishly easy and they know it will get a response (which in itself is proof of Zimmer's popularity) and instead of letting us know which scores they like, they do nothing else but attacking people for liking the scores they do (the Peacemaker thread an obvious example).
I don't get why their constant repeats of the same tired message are not considered as trolling around here? Every thread ends up being hijacked, no chance of any civil discussion possible as they clearly have no such intent from the onset and they actually get upset when people do. Because in their heads they are right and we need to jump on their Zimmer hating bandwagon to accomplish what exactly? Acknowledge the so called 'poor state of film music' these people living in the past like to proclaim and stone the scapegoat who is supposedly responsible for it? I don't see them bashing the gazillion other soundtrack releases -whose style they will probably hate- for the sole reason they are not as popular as Zimmer and he obviously is the one to blame.
On topic, I found that post very informative and respectful and far from ass kissing. People who like to write off Zimmer as untalented and lucky need to read it to understand why he is getting the job and the (near) dead composers they like aren't. It's a nice reality check for all the anti-Zimmer propaganda that roams these boards, as if it will prevent people from supporting/buying his music. (I might even go as far as to say it has an opposite effect, it's like hearing those westboro people go on and on  )
Here's an idea; instead of bashing all the Zimmers, Tylers, ... why not spend your time picketing the film theaters and convince the people who go and see these movies they need different music? Or write the producers and studios that hire the composers and demand they go back to scoring with 'pencil and paper'? That seems to be the standard to which film music is judged by these laggards: the composer who wrote with pencil and paper. I doubt he'd even last a second in the current business.
Maybe film music isn't for you anymore? Have you tried classical music? just a suggestion.
|
|
|
|
|
|
|
4) HANS WORKS WITH GREAT PEOPLE.
True dat. They're the REAL composers behind Hansi's business facade.
None of the blahblah in that email tells us that he is a composer!
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 11, 2013 - 3:14 AM
|
|
|
|
By: |
Thor
(Member)
|
So now we have two Yors? I've said it and I will say it again, if they manage to speak as positively about the scores they love on this board as they do as negatively about Hans Zimmer, there might actually be some constructive discussion.
But as it stands, they spend the majority of their time bashing Zimmer because it's childishly easy and they know it will get a response (which in itself is proof of Zimmer's popularity) and instead of letting us know which scores they like, they do nothing else but attacking people for liking the scores they do (the Peacemaker thread an obvious example).
I don't get why their constant repeats of the same tired message are not considered as trolling around here? Every thread ends up being hijacked, no chance of any civil discussion possible as they clearly have no such intent from the onset and they actually get upset when people do. Because in their heads they are right and we need to jump on their Zimmer hating bandwagon to accomplish what exactly? Acknowledge the so called 'poor state of film music' these people living in the past like to proclaim and stone the scapegoat who is supposedly responsible for it? I don't see them bashing the gazillion other soundtrack releases -whose style they will probably hate- for the sole reason they are not as popular as Zimmer and he obviously is the one to blame.
On topic, I found that post very informative and respectful and far from ass kissing. People who like to write off Zimmer as untalented and lucky need to read it to understand why he is getting the job and the (near) dead composers they like aren't. It's a nice reality check for all the anti-Zimmer propaganda that roams these boards, as if it will prevent people from supporting/buying his music. (I might even go as far as to say it has an opposite effect, it's like hearing those westboro people go on and on )
Here's an idea; instead of bashing all the Zimmers, Tylers, ... why not spend your time picketing the film theaters and convince the people who go and see these movies they need different music? Or write the producers and studios that hire the composers and demand they go back to scoring with 'pencil and paper'? That seems to be the standard to which film music is judged by these laggards: the composer who wrote with pencil and paper. I doubt he'd even last a second in the current business.
Maybe film music isn't for you anymore? Have you tried classical music? just a suggestion.
Wonderful post! A rare example of levelheaded reasoning in this thread (which, to be honest, I've only skimmed because of all the trolling). Yor was put on my ignore list a long time ago, even before I knew he was André Lux. Wish I had that option when he caused havoc the first time around in the early 2000s.
|
|
|
|
|
|
|
|
|
|
|
Deleted
|
|
|
|
|
|
|
|
|
Posted: |
Jul 11, 2013 - 5:08 AM
|
|
|
|
By: |
fmfan1
(Member)
|
I found the original post to be interesting and helpful in better understanding today's film scoring process. Thank you for the posting.
Every film has multiple solutions for the question of how it should be scored. There have been many cases where I have felt that Hans Zimmer has found a great solution. For example: Pirates of the Caribbean.
If someone gave me the choice to throw out Zimmer's Pirate scores so that another composer, perhaps a more "pencil and paper" type like John Scott, could have a crack at it, I would refuse. Sure, it would be interesting to hear what Scott would craft, but not only do I enjoy Zimmer's Pirates scores, but I think they do a great job supporting the films as well.
I frequently don't like when the stereotype of Zimmer's sound (as he really does use a diversity of styles) is used as the solution in so many films - especially those scored by other composers. The ostinato approach, for instance, has been overused, and too many potentially wonderful scoring moments have come across as generically exciting cues that are somehow missing their main melody line.
(As for the trolling on the board, I respectfully offer the following suggestions. Either have another board for "Serious Music Discussion" where respectful discourse is required and enforced, or we all simply ignore the trolling. The troll himself does not really bring down these threads. It's more the person who actually responds to the troll with attacks of his own and the resulting back-and-forth bickering that distracts from the content of the original post.)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
