This assignment makes 100% sense, but it gets me even more intrigued as to whatever may have happened between R. Scott and Zimmer! The music by Zimmer and Gerrard is iconic for the original film. Truly a focal point of film music in the early 2000s. And Zimmer has scored a R. Scott produced film from the recent decade, with Blade Runner 2049...
But is he not being invited back by R. Scott, or is he choosing not to be involved with the project and stepping aside to let his former Media Ventures protege takes the reigns? I want to be a fly on the wall.
Gerrard has working with HGW before, so there is a precedent and familiarity of them as cohorts.
The Zimmer/R. Scott run is just a legendary run. Tis a shame we won't get that long-awaited sonic follow up to what Zimmer and his collaborators built in 2000. This is well-trod territory for HGW as well, though he seems less and less inspired in this day and age although I was fond of The Last Duel and his two Equalizer scores.
Considering what Zimmer recently did with WW2 I was looking forward to his involvement. I certainly like HGW though! Not interested in the film which will probably be 2/3rds CGI.
Whoa. Zimmer would have been best, of course, but HGW ain't a bad substitute. KINGDOM OF HEAVEN is almost on GLADIATOR level, after all.
At this point, however, I do wonder if something has happened to the Scott/Zimmer relationship, or if there are other issues involved (like they can't afford him, for example, or scheduling conflicts). As First Breath said, last time they worked together was MATCHSTICK MEN a whopping 21(!) years ago.
It's as if Zimmer goes from one visionary director to the next in particular periods of his career. Early in his career, if was directors like Nicolas Roeg. Later it was Ron Howard (OK, not so visionary, but anyway), Scott and Nolan. These days, it seems to be Villeneuve. But he still goes back to some old friends, like Howard on HILLBILLY ELEGY (2020) or Barry Levinson of RAIN MAN fame on THE SURVIVOR (2021). So can't really draw any conclusions based on that either.
But surely they must have had some contact on BR2049 in 2017?
I doubt it. One, because Zimmer was away on tour for most of the production, and two, because a producer role is not as close as a director role. Perhaps some minor contact, who knows, but I doubt a lot.
KINGDOM OF HEAVEN is almost on GLADIATOR level, after all.
Opinions are opinions and all, but hard disagree with you on this one (on the score anyway).
Put another, less snarky way, nothing in KOH has ever grabbed me. I'm willing to keep an open ear and I'd be interested to know a few of your favorite tracks.
Opinions are opinions and all, but hard disagree with you on this one (on the score anyway).
Put another, less snarky way, nothing in KOH has ever grabbed me. I'm willing to keep an open ear and I'd be interested to know a few of your favorite tracks.
I will concede that 'almost' was a bit of an over-estimation. GLADIATOR is in a class of its own as one of the cornerstones of film music history. KINGDOM OF HEAVEN isn't there. But by golly, it was the score that convinced me of HGW's chops, after having been critical of his work all the way since the 90s. Gorgeous, sweeping textures that capture world music vibes combined with darker orchestral colours and religioso, choral goosebumps -- there's a "blueish" tint to the music, just as there is the film, with lots of chilly instrumentation choices. Favourite tracks include "Burning the Past", "Ibelin", "Coronation" and "Path to Heaven".
But surely they must have had some contact on BR2049 in 2017?
I doubt it. One, because Zimmer was away on tour for most of the production, and two, because a producer role is not as close as a director role. Perhaps some minor contact, who knows, but I doubt a lot.
I just feel that a producer like Bruckheimer, for instance, has more contact than the directors with the composers on his projects. But Ridley was executive producer on BR2049, whatever difference that makes.
As the post-release has shown me, I don't think R. Scott was much invested in Blade Runner 2049. He was candid about his disappointment that the film was "too long" and not financially successful (no shit, Sir Rid) as though he didn't have a choice in the matter. Seems like he was a classic "in name only" producer as he invested his time into a real stinker that year with Alien: Covenant.
Put another, less snarky way, nothing in KOH has ever grabbed me. I'm willing to keep an open ear and I'd be interested to know a few of your favorite tracks.
Like Thor, Kingdom of Heaven has been a score that has stuck with me through the years and years. Thor has dropped a few of his favorites, and I would agree with those. I honestly feel the entire soundtrack is one of the most spiritually peaceful, yet rousing, Adventure film scores of my lifetime.
There is a Medieval wonder found in the music, that I've never heard another composer match. At least until HGW scored The Last Duel for R. Scott. For me, it transports me to the time and place in a memory. And that is what good music accomplishes for me.
Recommendations: "A New World," "Rise a Knight," "Terms," and "Saladin."
The music by Zimmer and Gerrard is iconic for the original film.
I agree. So, I'm shocked that Scott didn't hire Zimmer again for this movie. I loved his main rousing theme for the Gladiator. I still play the CD. I assumed the main theme would play again when the new gladiator emerged. I'm rather sad about this.
