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A lot of Zimmer's music has that modern type of sound that Thor is talking about but it is combined often with something kind of quasi-classical in the way he structures the chord progressions (at the risk of insulting the great classic musicians). In some ways it’s a more natural combination than one would think because both elements, in their own way, employ a lot of structure that can easily combine with eachother. Its also understandable from the point of view of where films have gone where you get the glossy, hip (for a lack of a better word) aspect with the dramatic, emotive aspects of his “classical” chord progressions. There’s certainly a lot more thought and intelligence that goes into it then he’s sometimes given credit for, though I’m not a big fan of his music personally. And this is all separate from how he should be evaluated in his business practices, which, I’d probably agree have contributed to comprosing the art though there are a lot of pressures doing that, not all of which are new.
- Adam
To me, the favourite Zimmer sound is where he can "paint" an ethnic ambiance with synths augmented with certain acoustic instruments (and perhaps soft tinges of strings), like BEYOND RANGOON or LION KING or LAST SAMURAI. Or when he literally adds the MUSCLES of an action piece with a rocky beat and powerful, minormoded "power anthem". Both of these are goosebump-inducing to me, especially if they're mixed loudly on the soundtrack and are able to stand out. These are the kind of soundscapes we could never get with a straight-out orchestral approach, and I'm just very thankful that we have this available to enjoy.
Thor, you may want to check out Kung Fu Panda by Zimmer and Powell for more of that asian ethnic sounding thing. Here is a remarkably Black Rain-influenced cue:
http://www.youtube.com/watch?v=szjfmz_Q1UI
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I guess you never heard Zimmer's score to the Simpson's Movie. I very nicely done traditional orchestral score. I liken it to Goldsmith's work for Comedy (Dennis the Menace pops in my mind.) It even had a very old fashioned Theme and Variations on Elfman's TV series opening theme.
A fun score.
Dave
Yup, it's in that same "soft pop w/orchestra" style that Zimmer often uses in light dramas and comedies (AS GOOD AS IT GETS, THE HOLIDAY, THE WEATHER MAN, SOMETHING'S GOTTA GIVE etc.). Not my favourite Zimmer sound, but decent listening.
Oh, I really enjoy stuff from The Holiday and The Weather Man. Like this one, Maestro from Holiday:
http://www.youtube.com/watch?v=SgNc1CyutN4
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A lot of Zimmer's music has that modern type of sound that Thor is talking about but it is combined often with something kind of quasi-classical in the way he structures the chord progressions (at the risk of insulting the great classic musicians).
- Adam
Yes, diminished chords are very good friends of Hans. 
As for his Sherlock Holmes, I do find it very Elfmanish in the opening cue which Hans says is more like Morricone. Okay, I'll buy that because Elfman was influenced by Rota and Morricone.
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