I think this film is just crying out for an Andrew Powell/Alan Parsons Project LADYHAWKE style rock-opera with symphonic trimmings. Now THAT would shake things up a bit.
I'm not sure that's entirely fair on him. I get being disgruntled about the Remote Control factory churning out similar sounding material and I'm no way an apologist for that. But I really do think Zimmer himself likes to try and experiment and do new things when given the chance. New team-ups to try and find a new sound or weird, experimental sounds and new effects and trying to find new programming - for better or worse towards your particular taste.
I think you're touching here on the root of the Remote Control "problem" as it were, which is that aping Zimmer is not nearly as easy at it may seem. Even if one can use the same tools, it doesn't mean one can build the same house.
I understand guys but for a time it was either Zimmer or Zimmer-lite, and composers like James Horner and so many others were pushed out, not entirely blaming Zimmer for that it's really a studios/ industry thing moving towards sound design rather than genuine melodies/ themes/ structure aka the Jerry Goldsmith/ John Barry/ John Williams/ James Horner traditions. But Zimmer did play his part and he did churn out music whether it was him or underlings in his team, his name headlined many of his scores.
I just think his current statements just come across as ironic considering how many sequels etc he'd worked on before but that's just me.
I always find this viewpoint to be ironic because Zimmer is one of the last composers left that actually does genuine melodies. Especially memorable, concert worthy melodies. Even recently, you have WW84, Dune, The Creator, Frozen Planet II, etc. All of them have melodies that call you back to the picture.
I understand guys but for a time it was either Zimmer or Zimmer-lite, and composers like James Horner and so many others were pushed out, not entirely blaming Zimmer for that it's really a studios/ industry thing moving towards sound design rather than genuine melodies/ themes/ structure aka the Jerry Goldsmith/ John Barry/ John Williams/ James Horner traditions. But Zimmer did play his part and he did churn out music whether it was him or underlings in his team, his name headlined many of his scores.
I just think his current statements just come across as ironic considering how many sequels etc he'd worked on before but that's just me.
I always find this viewpoint to be ironic because Zimmer is one of the last composers left that actually does genuine melodies. Especially memorable, concert worthy melodies. Even recently, you have WW84, Dune, The Creator, Frozen Planet II, etc. All of them have melodies that call you back to the picture.
I understand guys but for a time it was either Zimmer or Zimmer-lite, and composers like James Horner and so many others were pushed out, not entirely blaming Zimmer for that it's really a studios/ industry thing moving towards sound design rather than genuine melodies/ themes/ structure aka the Jerry Goldsmith/ John Barry/ John Williams/ James Horner traditions. But Zimmer did play his part and he did churn out music whether it was him or underlings in his team, his name headlined many of his scores.
I just think his current statements just come across as ironic considering how many sequels etc he'd worked on before but that's just me.
I always find this viewpoint to be ironic because Zimmer is one of the last composers left that actually does genuine melodies. Especially memorable, concert worthy melodies. Even recently, you have WW84, Dune, The Creator, Frozen Planet II, etc. All of them have melodies that call you back to the picture.
which dune melody are you referring to?
The love theme. The House Atreides march. The Arrakis/Prophecy theme. The banshee cry. All of those musical elements transport you straight back to Dune. Terrific worldbuilding. Hell, even the percussion riff instantly transport you back to the movie.
The album releases Friday, November 15th on Decca Records
1. Gladiator II Overture (3:01) 2. Lucius, Arishat and the Roman Invasion (8:34) 3. I’ll Wait for You (5:51) 4. Ostia (4:11) 5. Angry Baboons (2:00) 6. Strength and Honor (3:21) 7. Acacius Returns (1:26) 8. City of Rome (1:55) 9. Defiance (0:55) 10. I See Him in You (2:59) 11. Acacius in the Colosseum (6:43) 12. Let the Gods Decide (4:08) 13. Macrinus’ Plan (3:34) 14. I Need You to Do This (3:52) 15. Smooth Is The Descent (4:22) 16. Now That I Have Found You (2:43) 17. Echoes in Eternity (2:15) 18. War, Real War (3:30) 19. The Dream Is Lost (2:45) 20. Now We Are Free – Lisa Gerrard, Gavin Greenaway & The Lyndhurst Orchestra (4:18)
I'm still kinda bummed they didn't go with GLADIIATOR
GLADIA2R
Interesting that the two singles appear (titles-wise, so an assumption) to be covers of the old material. I would have liked to hear the new material first but then I don't run a record label.
Wow super pumped after hearing that sample. Early 2000s Zimmer vibes. Hearing a lot of Angels and Demons in there - bits of Science and Religion? Is that Gerrard? I wonder if her voice is sampled.
