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I own many of Hans' works and I personally think he is a talented individual. His interview in the new FSM really had my stomach turning especially when he called Jon Burlingame's article rubbish.
He said that? Cool. Nice to know that Hans and I are on the same wavelength!
AMEN! Now we are three.
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Chalk one up for your side John. It's also a fact that a lot of composers in Hollywood HATE the Zimmer school of film scoring but like any strong fascist regieme, no one wants to publicly speak out and oppose it.
I'll take Horner's plagiarism any day over media ventures shit. Oh yes I said shit.
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AMEN! Now we are three.
Well Thor's mini-me didn't really need to speak, did he?
Anyway, here's a nice photograph of the Remote Control production studios:
brilliant!
BTW- give a chimp access to the kind of gear Zimmer has and even they could come up with a masterpiece. Honestly, giventhe resources and contacts that he has, there are few people on this forum that would have carved out a very nice career for themselves. Sour grapes or the truth? Methinks the latter. And half of Zimmers lackies would be nobodies with marginal skills had he not employed them.
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Chalk one up for your side John. It's also a fact that a lot of composers in Hollywood HATE the Zimmer school of film scoring but like any strong fascist regieme, no one wants to publicly speak out and oppose it.
I'll take Horner's plagiarism any day over media ventures shit. Oh yes I said shit.
That is because art of any kind is about expressing what makes you unique as an individual and when the corporate film score is full of people that all sound the same then it is no wonder that those who pride themselves on uniqueness get peeved.
Of course, then there are the likes of John Powell who used it as a way to get out on his own and make a name for himself. But I also believe that the talent was there in the first place and that is why he was able to leave.
I agree. Powell is the one good thing that came out of that place.
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I have learned one thing over the years here at FSM: people love to hate.
Just an observation.
It ain't just people here. People are like that everywhere. In this instance, however, it is not a matter of "loving to hate" or even "wanting to hate", it's simply the line in the sand that most board members are either on one side or the other on.
Yes, I must agree with you again John.
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Chalk one up for your side John. It's also a fact that a lot of composers in Hollywood HATE the Zimmer school of film scoring but like any strong fascist regieme, no one wants to publicly speak out and oppose it.
I'll take Horner's plagiarism any day over media ventures shit. Oh yes I said shit.
That is because art of any kind is about expressing what makes you unique as an individual and when the corporate film score is full of people that all sound the same then it is no wonder that those who pride themselves on uniqueness get peeved.
What has art got to do with it? Art is about expressing your own vision, not bolstering someone else's, and the principal function of a film score is to support the vision of the filmmakers. The best film composers are/were able to put something of themselves into their scores: Goldsmith did, Bernstein did, Williams does, Silvestri does, Horner used to, Barry still could if he wanted to. Many others are either suppressing their own voices for the sake of the film, or they've nothing much to express in the first place.
Does it matter that THE ROCK was written by four or five people? Does it matter that there are more additional composers on PIRATES OF THE CARIBBEAN than there were pirates? Yes, they may be corporate film scores, but they're corporate films, they're sure as hell not art. And the scores work in the films, even if on the most basic level. If they're any good to listen to in the car ten years later, that's a bonus. If they're still expressing your unique and individual personality, that's a bonus. But it's all secondary and tertiary to servicing the film and the filmmaker's intentions. If you tell them you want to use four bass harmonicas playing minor sevenths in an echo chamber because you want to artistically express in music the traumas of the Rob Schneider character, they'll look at you like you've grown a third leg or something. They're not looking for innovation or originality these days, they're looking for something that just does the job. And Zimmer (plus whoever) does the job. It might not be Rozsa, it might not be Korngold, it might not be North. But it doesn't have to be. That's why they hire him.
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BTW- give a chimp access to the kind of gear Zimmer has and even they could come up with a masterpiece. Honestly, giventhe resources and contacts that he has, there are few people on this forum that would have carved out a very nice career for themselves. Sour grapes or the truth? Methinks the latter. And half of Zimmers lackies would be nobodies with marginal skills had he not employed them.
Clearly the words of a composer who ended up as a failure. Not everyone can have a good film music career, Mr. Coscina.
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Well Thor's mini-me didn't really need to speak, did he?
Nor did ugly-boy.
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