[Closed] Now Playing XLVII

Not liking it Alan? I'm really enjoying everything I've heard of this score so far. Does anyone know if Zimmer has mentioned that he has obviously been influenced by Philip Glass?

There's about 20 minutes on the album that was interesting.

I can't see what all the zealous love for this one is about - well, I can I suppose as it's an 'event' Zimmer score.

But I can't hear anything here that I haven't heard before.

I must admit I had a feeling this wouldn't appeal to you that much, Alan.

I think that's a highly tenuous assumption to make. Poppycock, in other words.

What's poppycock?

I agree. You're talking nonsense here Captain.

I do take issue with your stereotypical generalisations that you make here.

For a start, I don't think that I mentioned that I "hate" it - I just didn't find it particularly interesting. It can be difficult sometimes to dig past the "love-without-question" that have been the basis of comments from Zimmer zealots (this isn't targeted to anyone in particular) and get a true reflection of what the music is actually like. Some people comment on the score as though the organ had never been used in film before!

What I am hearing in Interstellar doesn't even come close to being as interesting or listenable to much of what Jean Michel Jarre has done.

Zimmer does give some great parts to the score but I don't really want to sit through 4-5 minutes of uninteresting stuff to get there (this is something that I find with a lot of this composer's extended cue times). Interstellar will certainly be being put through some mp3 editing software to tease out the best bits.

Now, let me get back to my deep-fried Mars bar...

Which part of "The Great Migration"? There are a ton of themes and motifs in there, but unfortunately I can't remember which one might have 6 notes. I wish you meant the theme that starts shortly after 6:15 but that's probably too long to be a 6 note motif in Interstellar. If you can't be bothered to listen to the (admitedly saccharine) piece, no worries, I am going to see the film soon anyway.

Excellent art by the way.

Yes, nice artwork, Erik, but I kinda like the original artwork too. I love epic 'space' images like that.

Wow, I did not think I would start such an argument here, but anyway:

I stand by my words that electronica (70s and 80s style) was an European and Japanese affair. I never really took off in the US. Who had heard about Vangelis there before COSMOS? I'm not talking about later styles like techno, house or trance. Whether this has any bearing on the reception of Zimmer's score is another question altogether. If I my assumption was too simplistic then be it.

And yes, there deffinitely is a notable progrock influence here. Listen to Tangerine Dream's early ALPHA CENTAURI or to "Arrival / The Fall of the House of Usher" APP and you'll see what I mean.

I like epic space images as well but the colours are putrid! And I HATE the Interstellar logo they've been using.



Thanks!



Posters don't have to convey are certain "scene" in the film. They have to get the feel of the film and entice you to see it.

-Erik-

NP: Munich (2005) - John Williams

A beautiful, rich and moody score. Great Jewish colours, mesmerizing vocals. Who is still allowed to write film music on an artistic level such as this for mainstream cinema anymore?

The Imitation Game Alexandre Desplat

Predictably excellent score. It won't budge Godzilla from its top spot of 2014 (not even Zimmer's reinvention of music with Interstellar can do that), but this is a contender for the top 10.

Yeah, whatever.

Amen.

NP: Last Tango In Paris - Gato Barbieri

A little late night listening. This, IMO, is an essential jazz film score. Superb! Very much in the same league as other steamy jazz scores like WILD THINGS by George S. Clinton and BODY HEAT by John Barry.

-Erik-