 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 6, 2023 - 2:21 PM
|
|
|
|
By: |
WillemAfo
(Member)
|
WilliamAfo, this is not about where the sounds ORIGINATED, but about INFLUENCE. From back when you had another username (which I've forgotten now), I realize you're a young man keen to learn (which is applaudable), but in your keen-ess to "show off" this newly acquired knowledge in long contextual posts to set things straight for the rest of us, you create tenous, historical links that often aren't really there. I recognize myself in you from 20-25 years ago, so I sympathize with that, but I would also have told my younger self to imbue myself with a tad more humility now and then.
This is a projection of your own insecurities and bears no relevance to me. Ironically enough it describes very well you and the other instigators constantly trying to battle with me over my comments. Amusingly, you're not even close about my age.
I know what this thread was originally about and came here to comment on the score, only to find the conversation being about arguing over the "wailing woman". The further irony here is that 13 years ago when this thread started it was you, THOR who first brought up the "wailing woman" and a few days ago when I joined the thread it was you, THOR who was still arguing about the "wailing woman"... 13 years later. I'll let you decide how that fits into your armchair psychoanalytical theories about "younger self" and "humility".
I added my perspective because I disagree with the level of influence that you and others are claiming the score had. My perspective could have been maturely accepted as part of the discussion but it received incessant childish insults rather than substantive responses or more simply, no responses at all.
Anyone can search "9/11 cinema" under "books" in Amazon and find a gazillion books written on the impact 9/11 had on cinema. You can do the same in your local search engine and find a gazillion academic journals and even articles from The Guardian to NPR of all places.
But you can also all check your childish whining at the door because in further irony, FSM Online had an article describing this very topic where the article's main premise is that the impact of "Gladiator" is up for debate, and Tim Grieving and Doug Adams explicitly acknowledge the very point I'm making about the impact of 9/11 and world politics:
https://www.filmscoremonthly.com/fsmonline/free_article.cfm?ID=1995&issueID=53&page=1
So go ahead and separate your egos from battling me and redirect to battling them. I'd love to see their responses to you all insulting them for suggesting politics and world events have an impact on film.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Dec 6, 2023 - 2:45 AM
|
|
|
|
By: |
Thor
(Member)
|
I watched the film again on Netflix yesterday, for the first time in almost 10 years (so suitable for this thread title, in a way). Last time was the Live-to-Projection screening at the Krakow Film Music Festival in 2014, with Zimmer present.
I was struck again about how bloody brilliant it is. One tends to forget that now and then, because it's such a contemporary classic and overexposed in popular culture. Easily a masterpiece (without any feeling of guilt for using that overused word). So much texture and tactility in everything, in a day and age where digital filmmaking was a distant dream, and everything is grainy, analogue goodness. The close-ups, the vistas, the orange, the camera movements, the variance in film speed etc. etc. The music is fantastic, of course, and once again brought me to tears at the end.
This is actually the tailend of what I consider Zimmer's "Golden Period" (from roughly 1988 to 2003), and his best work in that late period.
Now that Scott is apparently doing a GLADIATOR 2, I'm very curious (and a little bit anxious) about how that will turn out. A lot has changed in both filmmaking techniques and Scott's own approach in 23 years.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I was familiar with Zimmer's music from Rain Man onwards (how could any movie-goer not be?) but Gladiator was the first of his soundtracks which impressed me enough to actually buy. I listened to it a good deal over the first year of ownership - but it wore thin after a while. For all its rich harmonies and varying styles, I came to find it shallow and slick.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
