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There’s always something new that generates interest......
His 10 CLOVERFIELD LANE and CLOVERFIELD PARADOX scores were terrific....
I think they are his strongest to be honest, but he's done other great stuff too.
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Posted: |
Oct 9, 2021 - 6:20 AM
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By: |
MikeP
(Member)
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Looks like some of us are just TOO OLD for this FSM Board. Statistics don’t lie, and here is the proof.
In the last three days, we have had two topics about one of the most ICONIC, gorgeous, heart-rendering scores ever composed. That score is TO KILL A MOCKINGBIRD by Elmer Bernstein. I think any member who thinks he or she is knowledgeable about film scores should “eventually” be cognizant of this score. (I say “eventually” for those who are really young and may actually someday journey back in time to hear renowned, celebrated scores.)
One TKM thread had 2, 027 views and one had 2,942 views. Sigh.
Now compare those numbers with two Zimmer threads in the last few days.
Dune topic had 21, 638 views.
No Time To Die had 266,110 views. I can’t believe it had that many views. (Maybe people just enjoyed the blood-letting on that topic.)
So, is it time for we old codgers (and you know who you are), to saddle up our walkers and wheelchairs and ride off into the sunset?
(Not me. I’m going to stick around to discover undiscovered past, present and future scores and to try to stamp out film score illiteracy, or I could keep hitting “view” on a topic 100,000 times. )
Nah, old folks like me ( about to turn 60 ), will follow a thread and comment. Mockingbird has had a decent response, but could be better.
The Dune & Bond threads are mainly younger know-it-all whippersnappers whining and moaning like babies 
Old codgers like us actually listen to music, enjoy it , sometimes not, and will post a few comments. These younger drama queens go on and on, tirelessly, constantly bullying others and yelling as often as possible as they try to make sure you know they're the smartest people around.
I've got better things to do 
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My body may be getting old(er) but my mind thinks it's still a teenager!
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Hard to catch up after a couple of days.
Count me in as one of the "old farts" who still feel young. (Did Ray Bradbury address this at some point? Do the youngsters know who Ray Bradbury is?)
As far as Zimmer bashing, blame the directors not Hans. He can compose a good, even a great score by "our" standards. But he's a professional, and he gives the directors what they want. So diss his Nolan scores all you want, but blame Nolan.
I saw NO TIME TO DIE two days ago, and I was struck by how "Bond-y" it sounded. And not just the interpolated quotes. Just to give credit where due. I need to listen to the score on its own now, but it certainly was not the disappointment that GOLDENEYE was. (And even that had some very nice quiet sections. It just didn't do very well on the action front, for me.)
For anyone who hasn't tried scores older than they are, do yourself a favor and look up some of the re-recordings from the silent age. And new scores for silents. Carl Davis and Robert Israel have done some outstanding work. And Frank Strobel's re-recordings of METROPOLIS and others (including some Prokofievs that suffered from poor recording technology) are always worth a listen.
So consider this 70+ reader in for the long haul. I just don't post all that often. Just too many books left to read.
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(Did Ray Bradbury address this at some point? Do the youngsters know who Ray Bradbury is?)
Julia's dad.( one for the Brits)
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There is intelligent life out there in the film music universe. The key, of course, is getting it to communicate with us.
Many years ago, a "new" voice appeared on this message board pronouncing that he wasn't interested in any score written before 1980 (presumably, the year of his birth). I was grateful he said that because he let me know his voice was one I need never take seriously. To this day, I do not remember this person, and it's possible his tune has changed although I doubt he has ever forgiven - or will ever forgive - my response about never needing to take him seriously.
I do hope, however, that he has discovered that a lot of great film music was written before his birth, most of it better than any written since his birth.
"To Kill A Mockingbird" remains a landmark film score that puts most of what is being written today -- and everything Mir. Zimmer has ever written -- to shame.
It is my favorite Bernstein score, bar none, and one of my favorite of all time.
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