HANS ZIMMER

I finished my Hans Zimmer sticker! I'm not the best at drawing people, but would love to become better, so I'm having a lot of fun trying! So I won't be offended if you think it's not a very good likeness, haha! It still makes me smile now that I've placed it on my sketchbook next to my John Williams sticker! James Horner, you're next!

https://www.etsy.com/listing/891371621/ … film-music

I was going with the #2 description from my dictionary:

maestro | ˈmīstrō |
noun (plural maestri | ˈmīstrē | or maestros)
• a distinguished musician, especially a conductor of classical music.
• a great or distinguished figure in any sphere

I think he is a great and distinguished figure in film music!

Review of Wonder Woman 1984

http://www.movie-wave.net/wonder-woman-1984/

I never got around to sort my thoughts about WW84, nor write a review as I had intended, but I wasn't quite as enamoured with it as you guys, I'm afraid.

I think it boils down to this:

Everyone says it's a return to his 90s style. That, IMO, is NOT the case (and that particular comment tends to come from younger people who don't really know what Zimmer's 90s stylings were about). Yes, he's more melodic than he's been in a while, but this sounds nothing like his 90s work. Rather, it's his attempt at approximating the 80s orchestral adventure style, something he's never really done before.

That is fun and everything -- and I think the first half of the (overlong) album is really entertaining in that regard -- but it's not the Zimmer I care for and adore. I prefer the more visionary, idiosyncratic stuff that is more 'serious', if you will.

That's why the score ended up only as an 'honourable mention' to me last year, and not in the top 10.

I haven't seen the film yet, and am in no hurry to. I'm not a superhero kind of guy; never really been into that stuff since I was a youngster. But I'll probably get to watch it at some point.

I think you might dig some of the sketches more, namely '84 and Barbara Minerva.

It's more complex than you say. There IS quite a bit, in fact quite a lot of the 1990s Zimmer, but not the minor-key MV style. Scores like Backdraft (compare the thematic ending of Truth!), A League of Their Own and by extension even Spirit: Stallion of the Cimarron crop up here quite a lot. Yeah, there is the 1980s adventure stylings (namely in 1984, people mention John Williams, I'd add the orchestral Silvestri here, a bit of Horner, too) that Hans never attempted. I'd even mention a bit of Days of Thunder, though for a full orchestra rather than a rock band.

There are some quite oldschool synth sound choices in the score as well. It's not a Synclavier/Fairlight score by any means, but there are moments where the synth programming attempts at going there. Cf. the warm sounds at the end of Themiscyra.

That makes a lot of sense Edmund, I agree with you there! It has a brightness and fun to it that Hans hasn't done for awhile or at least is different from what he is culturally known for currently.

Drop Zone is coming out in limited edition... 1500 copies.

https://quartetrecords.com/product/drop-zone/

That's cool, christopher! A shame you went to Broxton, though, I'm also recruiting over at Celluloid Tunes.

That's awesome Christopher! Glad to see you back!

That's amazing, congrats.
And yes, pleasantly surprised by this. I adored "Meet the Templetons"
Have to listen to it again

Are the previous Baby Boss scores equally thematic?
I never listened to them, feared they would be ... childish

Never seen or heard any BABY BOSS stuff in my life, and have no immediate intention to. But isn't it like a big franchise now, with television shows and whatnot?

Ah, yes, there has been some tv stuff. I forgot about that. I don't know how well you'd enjoy the Boss Baby music, Thor, but at least give this cue a shot: https://www.youtube.com/watch?v=XtSxD1W8Ynk. This is Conrad Pope's music for the big emotional finale of the first film. It's a wonderful throwback to some more classic film music sensibilities. It's soft and lovely for the first half, has a huge crescendo and then is just unashamedly triumphant at the end. It's one of my favorite compositions of the last decade.

I know, right?!

Sorry, I don't believe it for a second. Zimmer has gone on record many times, in Facebook feeds and whatnot, with his sympathetic, reasonable leftist views, including support to the LGBT community. If there's any conflict here, it's most certainly in other areas than the sexuality aspect.

It's Filmtracks, anything you could put against Hans is pretty much fair game over there with Edmund being a rare sane defender.

I don't really follow that one very much, however I have talked with Hans about the case and he has explained his process in bigger detail. I also linked the Twitter discussion to him directly and I'm going to see if there will be any expansion on what me told already. For now, with details of the working process left out, I can state that he told me this:

1. He has no recollection of having anyone fired from RCP for a long time;
2. He has no recollection whatsoever of working with Lauren Bousfield, he even asked me if she's credited in the films. I told him that according to hans-zimmer.com she got a credit on Kung Fu Panda 3 and Batman v Superman, which means that she probably is credited on the album as Hybrid reprints the album booklet credits on the site.

He did admit that he has a tough room, especially on something like Batman, and that while in that period the music editor's child was going through transition themself and they tried to be supersensitive, something insensitive could be passed to her "in jest" from either the music editor or the technical head of the score. He doesn't really make cue notes, if anything he communicates his feedback directly or indirectly as I said above.

That's what I got from Hans at this time.