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Posted: |
Feb 2, 2025 - 3:34 PM
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By: |
SchiffyM
(Member)
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Zimmer is clearly one of the most popular and influential film composers now and ever. Whether that's a good thing or bad is your own taste, but denying this popularity and influence seems a little silly.
But yes, Yavar is right – I've been to many sold out John Williams concerts at the Hollywood Bowl, which has an official capacity of 17,500. For that matter, when Jerry Goldsmith held two concerts at the Bowl in 1999, those were also sold out. (My friend wanted to join me, and couldn't.)
As for Rain Man, I don't know if that's the score that put him on the map, if any one score did. It was certainly a popular film that year (not a favorite film of mine, but so be it). I don't really know how to define these things. It certainly wasn't like Jaws or Star Wars, which became crazes unto themselves, but in fairness, it wasn't that kind of movie, either.
Creatively, I think the score is a canny integration of late 80s pop sounds into film scoring – certainly not the first score to do that, but it does it well, probably better than most that come to mind. It's not my favorite sort of music, and so I don't listen to this often, but I respect it.
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I wonder if the liner notes will finally confirm that This Corrosion by The Sisters of Mercy was in the temp track for the Vegas sequence. 
Good question. The similarities are indeed striking.
And who would OK that?
It could open the door to litigation, which no studio or composer wishes.
Ford A. Thaxton
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RAIN MAN was quite an original movie back in the day... a road movie with a brain, a heart, and -- crucially to its success -- a sound nobody had ever heard before. Speaking of never having heard: Who had ever heard of Autism before this movie? Perhaps I'm slightly biased because the subject matter was fairly close to my heart for reasons I don't feel like getting into here, but that movie put people with neurological and developmental disorder on the map, and it did it in a funny, touching and entertaining way. So way to go.
The score? I remember when I saw the movie back then... some guy named "Hans Zimmer". With a name like that, he had to be German. Turns out he was. His first Hollywood gig. First. And he walks away with an Oscar nomination. Why? Because the score is really good. Zimmer himself joked along the lines he got the nomination because the Academy probably thought he was some old, nearly dead German (classical) composer who came through with his one last Hollywood gig.
Ridley Scott takes one listen and says, that's a cool sound, who's that guy? Hands him BLACK RAIN, because when you make a movie about neon-lit Tokyo and men who kill for honor, you want something new. Something that pulses.
And that's the point. Zimmer's music didn't sound like anyone else's. It sure didn't to me, and I was in Hollywood back then, seeing two to three movies a week. Sure, now, decades later, that sound has permeated the film music world, everybody strives to sound like Zimmer, but back then, that sound was new and fresh. I wasn't the biggest Zimmer fan right away, his action music wasn't as exciting as Goldsmith's or as dramatic as Horner's. He wasn't a "classical" composer, he didn't use golden-age strings, he wasn't a modernist composer, and there were no complex counterpoint constructions. But it was fresh, and his music was undeniably uniquely suited for film, and so Hollywood took notice. One year later? Driving Miss Daisy. Another Oscar nod. By then, Zimmer wasn't just on the map, he was redrawing it.
Was this all for the better or for worse? Well, that's a different story, like all things. I admit I wasn't won over right away for all things. I wasn't too happy with much of Zimmer's work after RAIN MAN/BLACK RAIN, or at least I didn't pay all that much attention to it, but then came THE THIN RED LINE, a score that really and totally won me over. So Hans Zimmer introduced a new sound, and yes, I think it was RAIN MAN that was the big "before/after" movie. If you want to pinpoint it on one movie, you can make a good case that RAIN MAN was a seminal work. It was the movie where Hollywood took notice, and from then on, he was always on the map. And has been to this day.
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Posted: |
Feb 3, 2025 - 10:28 AM
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By: |
Mike Esssss
(Member)
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RAIN MAN was quite an original movie back in the day... a road movie with a brain, a heart, and -- crucially to its success -- a sound nobody had ever heard before. Speaking of never having heard: Who had ever heard of Autism before this movie? Perhaps I'm slightly biased because the subject matter was fairly close to my heart for reasons I don't feel like getting into here, but that movie put people with neurological and developmental disorder on the map, and it did it in a funny, touching and entertaining way. So way to go.
Touching, yes, but worth noting that one of the reasons RAIN MAN, the film, works so well is that it resists nearly every temptation toward sentimentality. One of the reasons RAIN MAN, the score, works so well is because Zimmer's instincts and approach aligned perfectly with the tone of the film.
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RAIN MAN was quite an original movie back in the day... a road movie with a brain, a heart, and -- crucially to its success -- a sound nobody had ever heard before. Speaking of never having heard: Who had ever heard of Autism before this movie? Perhaps I'm slightly biased because the subject matter was fairly close to my heart for reasons I don't feel like getting into here, but that movie put people with neurological and developmental disorder on the map, and it did it in a funny, touching and entertaining way. So way to go.
Touching, yes, but worth noting that one of the reasons RAIN MAN, the film, works so well is that it resists nearly every temptation toward sentimentality. One of the reasons RAIN MAN, the score, works so well is because Zimmer's instincts and approach aligned perfectly with the tone of the film.
Yeah, agreed, that's what I mean. It's a very good movie with an excellent music score. I still consider it one of Hans Zimmer's best film score.
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Assuming it's the same track that's on the "Wings of a Film" live set, the concert suite is really good.
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Posted: |
Feb 3, 2025 - 10:59 PM
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By: |
Amer Zahid
(Member)
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![](http://ci3.googleusercontent.com/meips/ADKq_Na0hUO0qmJM6rDmW7FO3k_5mgoNTBugbMKNlpG1569ZnCOlKLvCTU4ajK2FRab8qAlKQF3rulLW9Ku1DNEI7nM=s0-d-e1-ft#<A HREF="https://johndadlez.com/pix/rainman-Web.jpg" TARGET="_BLANK">https://johndadlez.com/pix/rainman-Web.jpg</A>)
“RAIN MAN: REMASTERED & EXPANDED LIMITED EDITION”
Music composed by Hans Zimmer
Limited Edition of 1500 Units
RETAIL PRICE: $22.98
STARTS SHIPPING FEB 11
Order yours starting 2/4 at 12 noon (pst) at www.lalalandrecords.com
La-La Land Records and MGM present a remastered and expanded CD re-issue of renowned composer Hans Zimmer’s original motion picture score to the acclaimed 1988 feature film RAIN MAN, starring Dustin Hoffman and Tom Cruise, and directed by Barry Levinson.
Maestro Hans Zimmer’s first American studio score would prove to be a vital part of this acclaimed drama’s enduring success, earning the composer an Oscar nomination. Buoyant, dramatic and heartfelt, Zimmer’s early entry into big-league scoring is pitch perfect for this joyous and moving drama featuring unforgettable performances by the legendary Tom Cruise and Dustin Hoffman. The composer’s music for RAIN MAN has also stood the test of time, as undeniably demonstrated in this new score soundtrack re-issue.
Produced by Stéphane Humez and mastered and edited by Maxime Marion, under the supervision of Hans Zimmer, this special limited edition CD release of 1500 units includes bonus tracks, featuring a 2000 concert suite demo along with source and alternate cues, as well as two additional tracks from the original 1988 album that were specially remixed for that presentation. The exclusive in-depth liner notes are by writer and journalist Kaya Savas, featuring a new interview with the composer and comments from director Barry Levinson. The sharp art design is by Dan Goldwasser.
TRACK LISTING:
THE SCORE
1. Drive From Country 1:26
2. Empty House – Charlie’s Memories 1:20
3. Drive To Bank And Wallbrook 1:28
4. Leaving Wallbrook 1:44
5. Traffic Accident And Aftermath 4:06
6. Train Crossing – Walk, Don’t Run 1:49
7. Farmhouse 1:08
8. Putting Ray To Bed – On The Road 3:24
9. Las Vegas 7:02
10. Smoke Alarm, Aftermath 1:27
11. Pancakes 1:11
12. My Main Man 1:39
13. Train Station Goodbye 1:59
14. End Credits 3:19
BONUS TRACKS
15. Rain Man 2000 Concert Suite (Demo) 5:08
16. Piano Music (Source) 1:11
17. On The Road (Panpipe & Bass) 1:18
18. Smoke Alarm, Aftermath (Alternate) 1:27
ORIGINAL ALBUM TRACKS
19. Leaving Wallbrook – On The Road 2:52
20. Las Vegas – End Credits 8:21
This is a CD format release
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Oh, nice. So it's basically the same tracks as the NoteForNote release, plus 4 additional bonus tracks. Great score, good to see it re-released.
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Not enough new stuff for me to order it. I'll stick with my Perseverance disc.
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